


Sang Ordinaire

by Greer Watson (greerwatson)



Series: FK4 - Virtual Fourth Season [2]
Category: Forever Knight
Genre: AU Post-Canon, Gen, Vampires, casefic, modified script format, virtual season
Language: English
Status: Completed
Published: 2004-09-27
Updated: 2004-09-27
Packaged: 2018-05-30 02:15:55
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 17,681
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/6404602
Author URL: https://archiveofourown.org/users/greerwatson/pseuds/Greer%20Watson
Summary: <blockquote class="userstuff">
              <p><b>Forever Knight</b> <i>1:00</i>    Conclusion.  Nick searches for the hijacked blood, neglecting the case he's supposed to be investigating.</p>
            </blockquote>





	Sang Ordinaire

**Author's Note:**

> CAST:
> 
> Nick Knight  
> LaCroix  
> Natalie Lambert  
> Tracy Vetter  
> Joe Reese  
> Vachon  
> Urs
> 
> Ysabel Rocca  
> Simon Mieka
> 
> George Cunningham  
> Dr. Hendricks  
> Rich Orton  
> Ianetti  
> Sorensen  
> woman in The Raven  
> Soo-Ling  
> teen-aged gay-basher  
> desk sergeant  
> woman w/ missing husband  
> voice on the phone
> 
>  
> 
> policemen, two orderlies in 1890s, woman in liquor store, passerby, woman in parking lot, prostitutes on the street corner, gay-bashers & their victim, vampires & their victims
> 
>  
> 
> SETS:
> 
> ext. police parking lot  
> ext. rear of police station  
> int. the police station  
> int. Nick's apartment  
> int. Natalie's apartment  
> int. Natalie's office  
> int. Tracy's apartment  
> int. Vachon's deserted church  
> int. The Raven  
> int. LaCroix's study  
> int. broadcast booth
> 
> ext. Cunningham's house  
> ext. a parking lot  
> ext. street corner  
> ext. alleyway  
> ext. warehouse (front of building, parking lot, roof of building)  
> int. warehouse  
> int. Cunningham's house—front hall/living room  
> int. hospital room  
> int. liquor store  
> int. Dr. Hendricks's parlour (in 1890s)  
> int. hospital morgue in 1890s
> 
> various streets  
> High Park

**PROLOGUE**

 

FADE IN:

1\. NICK'S APARTMENT—CLOSE ANGLE TOWARDS THE PIANO FROM THE LIVING ROOM AREA—DAY

Nick is sitting on the piano stool, relaxed, his chin on his left hand ... thinking. CAMERA CLOSES IN.

DISSOLVE TO:

2\. FROM PREVIOUS EPISODE (ACT ONE)— _INT. CAMPBELL'S APARTMENT—CLOSE-UP AT THE DOOR_

> _NICK_  
>  _Detective Knight, Detective Vetter.  Metro Police.  May  
>  we come in?_

_CUT TO:_

_3\. FROM PREVIOUS EPISODE (ACT ONE)—INT. CAMPBELL'S APARTMENT—CLOSE ANGLE_

> _NICK  
>  _ _I'm sorry, Mr. Campbell.  I'm afraid we have some  
>  bad news._

CUT TO:

4\. ONE FRAME OF WHITE

CUT TO:

5\. FROM PREVIOUS EPISODE (TEASER)— _EXT. PARK—CLOSE ANGLE—FROM IN FRONT OF RYAN_

_One of the teenagers kicks Ryan._

_CUT TO:_

_6\. EXTREME CLOSE-UP OF FOOT KICKING RYAN'S SIDE_

_CUT TO:_

_7\. EXTREME CLOSE-UP OF RYAN'S FACE_

_CUT TO:_

_8\. CLOSE-UP OF RYAN_

_Ryan doubles over, hands to his stomach._

FADE TO WHITE & FADE BACK TO:

9\. FROM PREVIOUS EPISODE (ACT ONE)— _CLOSE ANGLE ON REAR EXIT_

_Natalie turns to go down the side corridor._

> _REESE (O.S.)_  
>  _Dr. Lambert._

_Natalie turns._

_CUT TO:_

_10\. CLOSE-UP OF REESE_

_He straightens, mug in hand, putting down the coffee pot._

> _NATALIE (O.S.)_  
>  _Captain Reese._

CUT TO:

11\. FROM PREVIOUS EPISODE (ACT ONE)— _INT. NATALIE'S OFFICE—CLOSE ANGLE_

_Natalie is standing in the middle of the room, in front of her desk. Over between the autopsy table and the work bench are Nick and Tracy._

> _NATALIE_  
>  _This morning, after I got home, I thought  
>  of something._  
>  (backs up to her desk)  
>  _So I decided to ask around..._  
>  _(_ continues)

_CUT TO:_

_12\. CLOSE-UP OF NATALIE (NICK & TRACY'S P.O.V.)_

> _NATALIE_  
>  (continues)  
>  _...see if any of the hospital emergency  
>  rooms had dealt with other assaults with  
>  similar M.O.s._  
>  (turns to desk)  
>  _I came across this._  
>  (continues)

_She takes a paper from several on her desk._

_CUT TO:_

_13\. INSERT—TWO-SHOT OF TRACY & NICK_

_They look at one another._

> _NATALIE (O.S.)_  
>  (continues)  
>  _I think there's been an earlier case like  
>  this one._  
>  (continues)

_CUT TO:_

_14\. RETURN TO SHOT_

> _NATALIE_  
>  (continues, holding out file)  
>  _Only the other victim survived  
>  the attack.  A guy called Sorenson._

CUT TO:

15\. PREVIOUS EPISODE (ACT FOUR)— _INSIDE TRACY'S CAR—EXTREME CLOSE-UP OF TRACY_

> _TRACY_  
>  _Nick, you won't believe what Sorenson's  
>  done!  He's left town!  He's gone on a—_  
>  (vituperative)  
>  _— business trip._

CUT TO:

16\. PREVIOUS EPISODE (ACT FIVE)— _INT. REESE'S OFFICE—CLOSE ANGLE_

> _REESE_  
>  _He's staying at the hotel all right._  
>  (continues)

_CUT TO:_

_17\. INSERT—CLOSE-UP OF TRACY_

_She shrugs, still dissatisfied but not about to complain._

> _REESE (O.S.)_  
>  (continues)  
>  _I reckon he's just—_  
>  (continues)

_CUT TO:_

_18\. RETURN TO CLOSE ANGLE_

> _REESE_  
>  (continues)  
>  _—hoping you'll find the murderer fast..._  
>  (dry)  
>  _...and get him off the hook._

_CUT TO:_

_19\. CLOSE-UP OF REESE_

> _REESE_  
>  (wry grimace)  
>  _Let's face it—this isn't exactly organized  
>  crime we're talking about.  It's some parents'  
>  blue-eyed boys with too much to drink  
>  and nothing to do—_  
>  (short pause, emphatic)  
>  _—except have what they reckon is a  
>  good time beating up fags._

CUT TO:

20\. PRESENT—EXTREME CLOSE-UP OF NICK—OVER THE PIANO

He absently brushes his hand over his chin, and then looks over towards the elevator.

CUT TO:

21\. ANGLE TOWARDS THE ELEVATOR—NICK IN F.G.

> _NATALIE (V.O.)  
>  _ (annoyed) _  
> Come on, Nick.  Don't get so hung up on  
>  one dead guy that you forget how many lives are  
>  really at stake here!_

FADE TO WHITE & FADE BACK TO:

22\. PREVIOUS EPISODE (ACT ONE)— _EXT. HIJACKING SCENE_

_The car pulls sharply up beside the truck, and men with ski masks jump out.  In f.g., Orton turns, startled.  The men leap at him.  A brief struggle ends with Orton's being knocked unconscious with a blow over the head._

_[VOICE OVER FROM ACT FIVE.]_

> _LaCROIX (V.O.)_  
>  _Yesterday, a truck was hijacked on its way to a  
>  Liquor Control Board warehouse.  No doubt the  thieves  
>  think they stole a hundred cases of Ontario red wine.  In  
>  fact ... they have this month's supply of bottled  
>  blood ... intended for distribution to the vampire  
>  community here in Toronto._

_CUT TO:_

_23\. PREVIOUS EPISODE (ACT FIVE)—INT. LaCROIX'S STUDY_

> _NICK_  
>  (tense)  
>  All _of it?_

> _LaCROIX_  
>  _Well, I still have some here.  A few  
>  special vintages are on order._  
>  (pause)  
>  _But, yes.  Essentially—if  
>  you're talking about ... hmmmm—_  
>  (chooses phrase)  
>  _—' sang ordinaire', so to speak—then,  
>  yes, they got the lot._

CUT TO:

24\. PREVIOUS EPISODE (ACT FIVE)— _INT. CUNNINGHAM'S HALLWAY_

> _CUNNINGHAM_  
>  _I'm George Cunningham. Own that bottling  
>  plant in Niagara._

_He reaches out his hand, and Nick shakes it._

> _NICK_  
>  _Yes, of course._

_CUT TO:_

_25\. INT. CUNNINGHAM'S LIVING ROOM—CLOSE ANGLE TOWARDS ROCCA & MIEKA BY THE FIREPLACE_

> _CUNNINGHAM (O.S.)_  
>  (continues)  
>  _Simon Mieka; Ysabel Rocca._

_CUT TO:_

_26\. ANGLE TOWARDS DOUBLE DOORS—NICK & ROCCA IN F.G._

> _CUNNINGHAM_  
>  _Ysabel's in charge of the collection of blood  
>  in this province._

> _NICK_  
>  _Then you bottle it, and...._  
>  (breaks off)

_He looks inquiringly at Mieka (o.s.)._

_CUT TO:_

_27\. INSERT—CLOSE-UP OF MIEKA IN FRONT OF FIREPLACE_

> _MIEKA_  
>  (simply)  
>  _I sell it._

_CUT TO:_

_28\. TWO-SHOT OF NICK & LaCROIX_

> _MIEKA (O.S.)_  
>  _Mortals today have too many regulations..._  
>  _(continues)_

_CUT TO:_

_29\. CLOSE-UP OF MIEKA_

> _MIEKA_  
>  (continues)  
>  _...on the sale of—_  
>  (sniffs)  
>  _—what appear to be bottles of wine._  
>  (superior tone)  
>  _Of course, to avoid questions, we sell through  
>  liquor stores._

CUT TO:

30\. PREVIOUS EPISODE (ACT THREE)— _INT. LIQUOR STORE—ANGLE AWAY FROM CASH REGISTER INTO THE STORE_

> _IANETTI_  
>  (taking out ID)  
>  _Detective Ianetti, Metro Police._

_CUT TO:_

_31\. TWO-SHOT OF MIEKA & IANETTI, FAVOURING IANETTI_

> _IANETTI_  
>  _You may be able to help me with some  
>  information.  There was a robbery earlier today.   
>  A truckload of wine._  
>  (questioning)  
>  _I've been told it was a special shipment  
>  ordered for this branch?_

CUT TO:

32\. PREVIOUS EPISODE (ACT FOUR)— _INT. CUNNINGHAM'S LIVING ROOM—CLOSE-UP OF MIEKA_

> _MIEKA_  
>  _I'm going to have every vampire in the  
>  whole Toronto  region coming into  
>  my store._  
>  (continues)

_CUT TO:_

_33\. INSERT—EXTREME CLOSE-UP OF CUNNINGHAM_

> _MIEKA (O.S.)_  
>  (continues)  
>  _What am I going to tell them?_  
>  (continues)

_CUT TO:_

_34\. INSERT—CLOSE-UP OF MIEKA_

> _MIEKA_  
>  (continues, incredulous)  
>  _This month's supply of bottled blood has  
>  been  hijacked?!_

CUT TO:

35\. PREVIOUS EPISODE (ACT FIVE)— _INT. LaCROIX'S STUDY_

> _LaCROIX_  
>  (sharply)  
>  _You understand the implications?_

CUT TO:

36\. PREVIOUS EPISODE (ACT THREE)— _INT. CUNNINGHAM'S LIVING ROOM—CLOSE-UP OF MIEKA_

>   
>  _MIEKA_  
>  (worried)  
>  _You do see the implications?_

CUT TO:

37\. FLASHBACK (TO EARLIER IN THE EVENING)—INT. NICK'S APARTMENT, BY THE ELEVATOR—CLOSE-UP OF NATALIE

Natalie is talking to Nick, who is just o.s. by her.

> NATALIE  
>  _(earnestly)_  
>  Nick—you do SEE the implications?

CAMERA SHIFTS OVER TO NICK.

> NICK  
>  Yes, of course.

CUT TO:

38\. CLOSE ANGLE TOWARDS ELEVATOR

Natalie pushes the elevator door open.

> NICK  
>  I'm a vampire, too, Nat—how could I not understand?  
>  _(continues)_

FADE TO WHITE & FADE BACK TO:

39\. PRESENT—CLOSE ANGLE ON NICK—FROM KITCHEN

He gets up. CAMERA HOLDS ON HIM AS HE GOES TO THE STAIRCASE, AND THEN STARTS UP (TO BED).

> NICK (V.O.)  
>  _(continues)_  
>  Once the supply of  bottled blood runs out,  
>  they'll start to hunt humans again.  It's not  
>  as though they have any choice.

FADE OUT.

 

**END PROLOGUE**

 

* * *

 

 

**ACT ONE**

FADE IN:

40\. INT. NICK'S BEDROOM—CLOSE ANGLE ON BED—ANGLE SLIGHTLY DOWN

Nick is lying in bed in pyjamas, tangled in the sheets.  He wakes abruptly, struggling.  CAMERA CLOSES IN as he frees himself and sits up, clearly shaken.

CUT TO:

41\. ONE FRAME OF WHITE

CUT TO:

42\. DREAM—EXT. STREET—CLOSE ANGLE ON NATALIE, FROM IN FRONT—NIGHT

Quick shot.  Natalie is walking down the street.

CUT TO:

43\. EXTREME CLOSE-UP OF NATALIE

Quick shot.  An arm reaches out from behind to grab her, hand over her mouth.  Her eyes go wide with shock.

CUT TO:

44\. CLOSE TWO-SHOT OF NATALIE & LaCROIX—FAVOURING NATALIE

Quick shot.  Natalie's eyes are closed.  LaCroix's face is hidden, his teeth in her neck.

CUT TO:

45\. CLOSE TWO-SHOT OF NATALIE & LaCROIX—FAVOURING LaCROIX

He lifts his head.  Blood drips down his chin.

CUT TO:

46\. ONE FRAME OF WHITE

CUT TO:

47\. RETURN TO CLOSE-UP OF NICK, SITTING UP IN BED

He looks shocked.  Then he pushes the sheets aside and swings his legs out of the bed.

CUT TO:

48\. INT. NATALIE'S APARTMENT—MED. ANGLE—DAY

Daylight is coming in through the windows at the front of the room.  For a while the room is empty, although THE PHONE IS RINGING.  Finally, NATALIE COMES ON SCREEN, wearing a nightgown.  Her hair is tousled, and she looks tired.  She goes over and picks up the phone.

CUT TO:

49\. CLOSE-UP OF NATALIE

> NATALIE  
>  _(yawns)_  
>  Yeah?

> NICK (on phone)  
>  Nat, if you don't mind—  
>  (continues)

CUT TO:

50\. INT. NICK'S LIVING ROOM—CLOSE-UP OF NICK

Nick is standing by the table where the phone is, still wearing pyjamas.  In b.g., the shutters are down over the windows.

> NICK (into phone)  
>  _(continues)_  
>  —I'd like to drive you to work for the next few  
>  days.

CUT TO:

51\. EXTREME CLOSE-UP OF NATALIE

She looks astonished.

CUT TO:

52\. EXTREME CLOSE-UP OF NICK

> NICK  
>  _(uncertainly)_  
>  Please, Nat.  It's important.  Humans evolved to  
>  live in the daylight.  
>  _(continues)_

DISSOLVE TO:

53\. SUNSET (STOCK)

> NICK (V.O.)  
>  _(continues)_  
>  Vampires are nocturnal.

CUT TO:

54\. INT. NATALIE'S APARTMENT—MED. ANGLE AT FRONT DOOR

Now fully dressed, Natalie opens the door to let Nick in.

> NICK  
>  Ready to go?

> NATALIE  
>  I'll just get my bag.

She turns to go in the living room, but then turns back.

> NATALIE  
>  _(quiet, serious)_  
>  Nick, I appreciate your  concern.

CUT TO:

55\. EXT. DOWNTOWN STREET—NICK'S CAR DRIVES ALONG—NIGHT

CUT TO:

56\. EXT. STREET—CLOSE ANGLE ON PASSENGER DOOR—NIGHT

Nick's car is parked (outside the Coroner's Building, o.s.).  Natalie opens the door and gets out.  Nick leans across from the driver's seat to talk.

> NICK  
>  Nat....  
>  _(pauses)_

Natalie bends down, with the door open behind her.

> NICK  
>  _(continues)_  
>  Give me a call, no matter what ... any time  
>  you have to leave the building.

> NATALIE  
>  Nick—we both have jobs to do.

> NICK  
>  Even so.  
>  _(pause)_  
>  It's going to be all right, Nat.  But  don't take  
>  chances we can avoid ... please.  Any mortal  
>  going around alone at night...  
>  _(brief pause)_  
>  ...is so  vulnerable.

> NATALIE  
>  _(slightly dry)_  
>  I'm a  big girl, Nick.  
>  _(pause, little smile)_  
>  Big enough not to have to  prove I'm grown-up.  
>  _(laughs)_

CAMERA ADJUSTS as she straightens, slams the door shut, turns away, and walks o.s. PAST THE CAMERA.  NICK'S CAR PULLS AWAY FROM THE CURB & DRIVES O.S.

CUT TO:

57\. INT. HOSPITAL ROOM—CLOSE-UP OF ORTON

Rich Orton lies in bed, his head bandaged and eyes shut.

> NICK (O.S.)  
>  Mr. Orton ... Rich?  
>  _(pauses)_

Orton's eyes open.

CUT TO:

58\. CLOSE ANGLE—UP THE BED FROM THE FOOT, ANGLED ACROSS TO NICK ON FAR SIDE

Nick is standing by the bed.

> NICK  
>  _(continues)_  
>  My name is Knight.  
>  _(pulls out I.D.)_  
>  I'm a police officer.  
>  _(continues)_

Nick pulls up a chair and sits down.

> NICK  
>  _(continues)_  
>  I wonder if you would describe the hijacking  
>  of your truck.

> ORTON  
>  I already told the other cop.

> NICK  
>  Yes—Detective Ianetti.  But I need to go over  
>  some of the details again.

Orton SIGHS.

> NICK  
>  _(smiles)_  
>  I'm sorry.  But you know how it is.

> ORTON  
>  _(resigned)_  
>  Yeah, sure:  I watch TV.

Orton struggles to sit up in the bed.

CUT TO:

59\. EXT. REAR OF POLICE STATION—MED. ANGLE—NIGHT

Nick opens the door and goes inside.

CUT TO:

60\. INT. POLICE STATION—CLOSE ANGLE ON IANETTI'S DESK

Ianetti is sitting at his desk.  NICK COMES ON SCREEN, walking up the central corridor from the rear of the squad room.  He rests one hand on the desk facing Ianetti's and leans down confidentially.

> NICK  
>  Ianetti—I wonder if I could have a word with you about—  
>  _(interrupted)_

Before he can say "the hijacking", he is interrupted.

> REESE (O.S.)  
>  Knight!  
>  _(continues)_

Nick glances round with a guilty start.

CUT TO:

61\. ANGLE TOWARDS REESE'S OFFICE—FROM BEHIND THE DESK

Reese is standing in the doorway.  In f.g., Nick straightens up.

> REESE  
>  _(continues irritably)_  
>  Where the hell have  you been?

CUT TO:

62\. REVERSE ANGLE (REESE'S P.O.V.)

With a slight smile and inquiring look, Nick heads over.

CUT TO:

63\. CLOSE-UP OF REESE

> REESE  
>  _(resigned)_  
>  Oh, never mind.

CUT TO:

64\. REVERSE ANGLE (REESE'S P.O.V.)

Nick stops.  His look of inquiry deepens.

CUT TO:

65\. ANGLE TOWARDS REESE (NICK'S P.O.V.)

> REESE  
>  _(continuing mildly)_  
>  Your partner came in a while back with a  
>  witness. They're in the interrogation room.

He gestures with his left hand to the interrogation room.

CUT TO:

66\. REVERSE ANGLE (REESE'S P.O.V.)

> NICK  
>  Right.

He nods briskly.  CAMERA TRACKS HIM as he heads for the corridor leading to the interrogation room.

CUT TO:

67\. INT. INTERROGATION ROOM—CLOSE ANGLE ON TABLE—FROM CORNER AWAY FROM THE DOOR

In right f.g., Tracy stands with her arms crossed.  Sorenson is sitting at the table.  He is a thin man in his late twenties, with short fair hair, smartly dressed in a light grey suit, with smooth skin over a bony face.

> TRACY  
>  _(crisp)_  
>  You're the one who claims to be so willing  
>  to be of assistance, Mr. Sorenson.  Frankly, I  
>  don't see much evidence.

> SORENSEN  
>  _(nervous)_  
>  Of course I want to help ... anyway I  can,  
>  Detective.  I want those guys caught before  
>  they kill someone else.  I have a civic  
>  duty—I know that.  
>  _(slightly sulky)_  
>  Sorry I had to go out of town.

Tracy SNORTS. CAMERA ADJUSTS TOWARDS THE DOOR. Nick enters, catching Tracy's eye.

> TRACY  
>  This is Mr. Sorenson.

> NICK  
>  Ah, right.  
>  _(comes over to table)_  
>  _(briskly friendly)_  
>  It's good of you to  help us.  I'm Detective Knight.  
>  _(continues)_

He holds out his hand; and Sorenson half gets up and shakes it.

> NICK  
>  _(continues)_  
>  I  know it can't be easy ... talking about what  
>  happened to you.  
>  _(pauses)_

They stop shaking hands, and Sorenson sits back down.  Nick smiles at him in a relaxed way, to put him at ease.

> NICK  
>  _(continues, smiling)_  
>  We could have talked to you at your  home.  It  
>  wasn't necessary to put yourself out to come  
>  down here.

CAMERA SHIFTS OVER TO TWO-SHOT OF SORENSON & TRACY.  Sorenson glances at Tracy, who is clearly fed up.

> TRACY  
>  _(to Nick)_  
>  Mr. Sorensen's wife doesn't know he's homosexual.

Sorenson quickly looks at Nick.

> SORENSEN  
>  _(urgent)_  
>  I'm  bisexual.

> TRACY  
>  Whatever.

Nick pulls up a chair and sits down on Sorensen's right.  Sensing some antagonism in Tracy, Sorensen turns to Nick for understanding.

>  SORENSEN  
>  _(confidentially)_  
>  You see—I told my wife last month that I was  mugged.  
>  _(pauses)_

Nick nods encouragingly.  Sorenson picks at his nails.

> SORENSON  
>  _(continues, depressed)_  
>  But that  won't work in court.

> NICK  
>  _(encouraging)_  
>  Well, there'll be  other evidence we can use,  
>  you know.  Bloodstains ... fibres from the  
>  victim's clothes.  
>  _(continues)_

Sorensen looks up and nods, looking serious.

> NICK  
>  _(continues)_  
>  We need your  help. That doesn't necessarily  
>  mean that we'll be calling you as a witness.

> SORENSON  
>  _(subdued)_  
>  No.  No, I understand.

CUT TO:

68\. ANGLE TO REAR OF SQUAD ROOM—FROM TRACY'S DESK (ON L.S.), OVER TO THE DOOR TO THE INTERROGATION ROOM

Nick and Tracy come across the room from the corridor to the interrogation room.  CAMERA SHIFTS ROUND, HOLDING ON THEM.  AS THEY GET TO TRACY'S DESK, CAMERA CONTINUES ROUND TO INCLUDE THE DOOR TO REESE'S OFFICE.  Reese comes out, and stands just outside the doorway.

> REESE  
>  You get anything out of Sorensen?

> TRACY  
>  Nah.

> NICK  
>  He talks cooperation—but he knows perfectly  
>  well that the less he saw, the less pressure  
>  we'll put on him to testify.

Tracy sits down at her desk.  In f.g., Nick looks around the room.

> NICK  
>  Ianetti around?

> REESE  
>  No, he's gone to talk to someone at the L.C.B.O.

> NICK  
>  (turning head to Reese)  
>  Ah.

> REESE  
>  _(idly curious)_  
>  What'd'you want him for?

> NICK  
>  Oh, I owe him a couple of bucks, that's all.

Reese nods slightly and goes back in his office.

CUT TO:

69\. EXT. NICK'S BUILDING—DAY (STOCK)

> NATALIE (V.O.)  
>  You know, Nick—  
>  _(continues)_

CUT TO:

70\. INT. NICK'S APARTMENT—CLOSE TWO-SHOT OF NICK & NATALIE—IN FRONT OF THE FIREPLACE

> NATALIE  
>  _(continues)_  
>  —you could have  hypnotized Sorenson and  
>  got the information out of him easily.

> NICK  
>  _(simply)_  
>  Not with Tracy in the room.  She's a Resistor.  
>  _(continues)_

Natalie nods her realization of the implications.

> NICK  
>  _(continues)_  
>  That's the trouble with having a partner who's—  
>  _(twinkles charm)_  
>  — immune to my vampire charm.

Natalie drops her eyes, looking amused.

CUT TO:

71\. SUNSET (STOCK)

CUT TO:

72\. INT. NICK'S APARTMENT—MED. ANGLE TOWARDS PIANO FROM LIVING ROOM AREA

Nick is standing in front of the piano, using the remote to raise the shutters.  As sunset light fills the room, he turns to put the remote on the top of the piano.  CAMERA HOLDS ON HIM as he heads over to the fridge, and then SHIFTS DOWN TO THE COUCH IN F.G.  Natalie is sitting, with her head lying on the back of the couch, very relaxed.

> NATALIE  
>  You know, Nick ... I was wondering....  
>  _(pauses)_

She half-lifts her head, turning right to look over the back of the couch.  CAMERA SHIFTS UP A BIT TO NICK AT THE FRIDGE.  He has the door open, and is reaching inside.

> NICK  
>  What?

Nick takes out a bottle of blood, and shuts the door.  He heads over towards his chair.  CAMERA ADJUSTS BACK DOWN TO NATALIE.

> NATALIE  
>  When did vampires switch to drinking bottled  
>  blood?  
>  (continues)

Her eyes stay on Nick (o.s.), who stops behind the corner table.

> NATALIE  
>  _(continues)_  
>  After all ... I'm a  doctor.  I know they didn't  
>  have blood transfusions a century ago!

ANGLE SHIFTS OVER TO NICK.  He looks thoughtful.

DISSOLVE TO:

73\. FLASHBACK—INT. MORGUE IN 1890s—FULL SHOT

This is a cold room in the basement of a hospital, with walls tiled halfway up and painted green above that, lit with gas lamps.  On right b.g., is an open door leading to a passage.  There are a couple of bodies on tables.  In left f.g., DR. HENDRICKS bends over one of them.  He is a vampire who works as a pathologist in a hospital.  He looks very respectable in an expensive suit, with an embroidered waistcoat and pocket watch on a chain; over this, he wears a white coat.  He has a beard and whiskers.  He turns around as TWO ORDERLIES carry in a corpse on a stretcher, covered with a grey blanket.

> HENDRICKS  
>  Put it over there.

He gestures to an empty table and turns back to his work.

CUT TO:

74\. ANGLE FROM DOORWAY INTO ROOM

In b.g., Dr. Hendricks bends over the body, back to the door.  The orderlies put the stretcher on the empty table.  NICK COMES ON SCREEN IN EXTREME F.G.

CUT TO:

75\. INSERT—CLOSE-UP OF NICK IN DOORWAY

He is elegantly dressed, carrying a cane.  He looks around the room.

CUT TO:

76\. RETURN TO SHOT

The orderlies head for the door.

CUT TO:

77\. FULL SHOT—DR. HENDRICKS IN LEFT F.G.

Nick moves in and aside, letting the orderlies leave.

> NICK  
>  Excuse me.  You are Dr. Hendricks, are you not?   
>  My name is Nicholas Forrester.

He walks forward as Hendricks turns round.

CUT TO:

78\. CLOSE-UP OF HENDRICKS

Hendricks turns, inquiringly—but stiffens, sensing that Nick is a fellow vampire.  NICK COMES ON SCREEN IN EXTREME F.G., and halts in front of Hendricks.

> HENDRICKS  
>  _(quick, suspicious, sharp)_  
>  The community has  no right to interfere here;  
>  my experiments are my business; what do you  
>  want?

CUT TO:

79\. CLOSE-UP OF NICK (HENDRICKS'S P.O.V.)

Nick is taken aback by this unexpected vehemence.

> NICK  
>  You misunderstand!  
>  _(continues)_

CUT TO:

80\. EXTREME CLOSE-UP OF HENDRICKS

Face closed, suspicious.

> NICK (O.S.)  
>  _(continues)_  
>  I am  interested in your work.  I gather—  
>  _(continues)_

CUT TO:

81\. CLOSE-UP OF NICK (HENDRICKS'S P.O.V.)

> NICK  
>  _(continues)_  
>  —you are attempting to find a way to  obtain  
>  blood from mortals ... without killing them.

CUT TO:

82\. EXTREME CLOSE-UP OF HENDRICKS

> HENDRICKS  
>  _(relaxed, amused)_  
>  Ah,  that is the easy part.  
>  _(continues)_

CUT TO:

83\. INSERT—CLOSE ANGLE FROM BEHIND NICK—NICK IN RIGHT F.G. (CLOSE-UP FROM BEHIND)

Hendricks gestures behind him at the corpse.

> HENDRICKS  
>  _(continues, instructive)_  
>  After all—  
>  _(continues)_

CAMERA CLOSES IN ON THE CORPSE.

> HENDRICKS  
>  _(continues)_  
>  —it is possible to drain between  two and four  
>  quarts of blood from a fresh corpse.

CUT TO:

84\. EXT. TRACY'S BUILDING—NIGHT (STOCK)

CUT TO:

85\. INT. TRACY'S KITCHEN—CLOSE-UP OF VACHON (FROM BEHIND)

Vachon opens the door of the refrigerator.  He looks inside and then turns around.

> VACHON  
>  Tracy...  
>  _(continues)_

CAMERA PULLS BACK OVER THE COUNTER.  TRACY COMES ON SCREEN IN EXTREME F.G.  She has her elbows on the counter, looking in at him.  He shuts the fridge door.

> VACHON  
>  _(continues)_  
>  ...didn't I leave a  bottle in here?

> TRACY  
>  _(easily)_  
>  You finished it up last time you came  over.   
>  Don't you remember?

> VACHON  
>  Ah, right.

CUT TO:

86\. INT. LIQUOR STORE—MED. ANGLE TOWARDS THE FRONT DOOR—NIGHT

Vachon comes in.

CUT TO:

87\. CLOSE-UP OF VACHON

CAMERA FOLLOWS ON HIM AS HE WALKS THROUGH THE STORE.  He heads towards the back of the store.  Ahead, Mieka is with A FEMALE CUSTOMER who wants advice about white wine.

 

> MIEKA  
>  _(in distance)_  
>  Now  this would be good with roast chicken.  Not  
>  too sweet.  And quite inexpensive.

Mieka turns his head towards Vachon.  Then he smiles at the woman, who puts the wine in her basket and heads o.s. (for the cash register).  Mieka comes up the aisle to intercept Vachon.

> VACHON  
>  _(lightly)_  
>  Mieka!  
>  _(continues)_

Mieka and he meet.

> VACHON  
>  _(continues)_  
>  I'm here for a case of the usual.

> MIEKA  
>  _(firm)_  
>  I'm sorry, we're temporarily out of stock.

> VACHON  
>  _(startled)_  
>  You can't be!

Mieka gives a tight little smile.  This store is his territory; and, despite the current problem, he likes being the one in charge.

> MIEKA  
>  The regularly scheduled shipment has been  
>  delayed.  We should get it in soon.

Vachon looks bewildered.  He is about to protest, but before he can say anything, Mieka overrides him.

> MIEKA  
>  _(blandly)_  
>  I do regret the inconvenience.  I trust you can  
>  make other arrangements for the time being.

> VACHON  
>  _(at a loss)_  
>  Yeah, sure.

He turns away and goes o.s. TOWARDS THE CAMERA.  Mieka looks after him with a trace of satisfaction.

CUT TO:

88\. EXT. STREET—CLOSE-UP OF VACHON—NIGHT

He walks towards the camera and stops IN EXTREME F.G.  He looks worried and puzzled.  CAMERA PULLS BACK.  People jostle past him on the street, some behind him and some in front.  He starts, and looks round.

CUT TO:

89\. CLOSE-UP OF MAN PASSING BY—THRU VACHON'S EYES

A PASSERBY looks blankly at Vachon

CUT TO:

90\. QUICK INSERT—TWO-SHOT OF VACHON & PASSERBY

A phantasy.  Vachon grabs the passerby, and sinks his teeth in the man's throat.

CUT TO:

91\. INSERT—EXTREME CLOSE-UP OF VACHON

Shocked at his sudden hunger.

CUT TO:

92\. RETURN TO CLOSE-UP OF MAN PASSING BY

The man looks away from Vachon, and goes o.s.

CUT TO:

93\. RETURN TO CLOSE ANGLE ON THE STREET

CAMERA CONTINUES TO PULL BACK.  More people pass, but Vachon stands frozen on the street.

FADE OUT.

 

**END ACT ONE**

 

* * *

 

**ACT TWO**

FADE IN:

94\. EXT. POLICE STATION—NIGHT (STOCK)

CUT TO:

95\. INT. POLICE STATION—CLOSE-UP OF IANETTI—ANGLE ALONG IANETTI'S DESK TOWARDS THE FAR SIDE OF THE ROOM

In f.g., Ianetti is sitting at his desk, talking on the phone.  His jacket is over the back of his chair.

> IANETTI (on phone)  
>  Thanks. I'll be right over.

CAMERA SHIFTS ROUND, HOLDING ON IANETTI IN F.G.  Ianetti puts the phone down and gets up abruptly.  In b.g., Nick is at his desk, sorting through some papers.  Tracy is not around.

> NICK  
>  _(calls over)_  
>  Got a lead?

> IANETTI  
>  _(sceptically)_  
>  Maybe.

CUT TO:

96\. REVERSE PERSPECTIVE

CAMERA HOLDS ON NICK IN F.G. BUT FOLLOWS IANETTI IN B.G.  Nick watches intently as Ianetti heads for Reese's office.  He passes out of sight behind the partition and column, but we hear him RAP on the door.

> IANETTI  
>  Captain Reese, you got a minute?

We hear THE DOOR CLOSE behind him as he goes in.

CUT TO:

97\. CLOSE-UP OF NICK—FROM IN FRONT

Nick frowns thoughtfully.  He DRUMS HIS FINGERS on the desktop, and then gets up decisively. [O.S., Tracy is coming up the central corridor to her desk.]  CAMERA HOLDS ON NICK as he turns into the central corridor (about to head out the back way).  As he turns, he nearly collides with Tracy.

> TRACY  
>  _(easily)_  
>  Going somewhere?

> NICK  
>  _(short)_  
>  Out.

There is a tiny pause as Tracy takes this in.

> TRACY  
>  _(suspiciously)_  
>  This  is the case, right?

> NICK  
>  _(awkward)_  
>  Uh ... look, Trace—I'm really sorry about this.

> TRACY  
>  _(eyes narrowed)_  
>  Yeah, I know.  And you want me to cover  
>  for you with  Reese again.

Nick looks shamefaced—and tongue-tied.

> TRACY  
>  _(long-suffering)_  
>  Oh ...  okay.  Just try not to take all night over  
>  it this time.

Nick shifts past her on the right.  Tracy goes TOWARDS & PAST THE CAMERA to her desk (o.s.).

CUT TO:

98\. MED. ANGLE TOWARDS THEIR DESKS FROM THE REAR OF THE ROOM

NICK HEADS TOWARDS THE CAMERA.  Behind him, Tracy pulls out her chair.

> TRACY  
>  _(calling)_  
>  Nick!—do you have Sorenson's  address handy?

Nick turns round.  CAMERA FOLLOWS HIM as he comes back.  While he does, Tracy sits down.  Nick pauses, standing by his desk.  She reaches out to pick up a pen.

> NICK  
>  _(uncertainly)_  
>  You're not planning on going out to his  home,  
>  are you?

Tracy looks round, arm still stretched out for the pen.  ANGLE SHIFTS DOWN & CAMERA CLOSES IN FOR CLOSE-UP OF TRACY.

> TRACY  
>  _(hard)_  
>  Oh, yeah.  Mister Sorenson doesn't want me  
>  telling his wife the truth about him ... so he'd  
>  better talk.  Or I will tell her.  After which he'll  
>  have no reason to lie to us any more, will he?  
>  _(with satisfaction)_  
>  That'll take care of his excuses.

CUT TO:

99\. CLOSE-UP OF NICK—ANGLE UP (TRACY'S P.O.V.)

> NICK  
>  _(uneasy)_  
>  But Tracy....  
>  _(trails off)_

CUT TO:

100\. ANGLE FROM BEHIND NICK'S DESK TOWARDS THE FRONT OF THE SQUAD ROOM—NICK & TRACY IN F.G.

Tracy glances at the pens and takes one, pulling a piece of blank paper to her with her other hand.  In b.g., Ianetti comes from Reese's office.

> TRACY  
>  _(firm)_  
>  Do you have his  address, Nick?

CUT TO:

101\. CLOSE-UP OF IANETTI (NICK'S P.O.V.)

A quick shot.  He heads over to his desk.

CUT TO:

102\. EXTREME CLOSE-UP OF NICK

A quick shot.  He looks torn.  He actually has no interest in protecting Sorenson:  he is concerned for Tracy's safety with regard to her going out alone when there might be vampires on the prowl.  But again—if Ianetti's going anywhere, he wants to trail him.  His eyes turn towards the other side of the room.

CUT TO:

103\. CLOSE-UP OF IANETTI (NICK'S P.O.V.)

A quick shot.  He stands behind his chair, fumbling with some papers on his desk.

CUT TO:

104\. EXTREME CLOSE-UP OF TRACY (NICK'S P.O.V.)

Looking up at Nick, with growing impatience.

CUT TO:

105\. EXTREME CLOSE-UP OF NICK

His eyes go down to Tracy.

> TRACY (O.S.)  
>  _(annoyed)_  
>  Men.  
>  _(continues)_

CUT TO:

106\. EXTREME CLOSE-UP OF TRACY (NICK'S P.O.V.)

> TRACY  
>  _(continues)_  
>  Gay or straight!—  
>  _(continues)_

CUT TO:

107\. TWO-SHOT OF NICK & TRACY IN F.G.—IANETTI BETWEEN THEM IN B.G. (OUT OF FOCUS)

> TRACY  
>  _(continues)_  
>  —you  all stick together, don't you?  
>  _(continues)_

In b.g., Ianetti puts on his jacket.  Nick's eyes wander off in his direction.  IANETTI COMES INTO FOCUS.

> TRACY  
>  _(continues)_  
>  If you ask  me, his wife has a right to—  
>  _(breaks off, sharp)_  
>  Nick!  Are you listening to me?

FOCUS SHIFTS BACK TO NICK & TRACY. He looks back at her quickly.

> NICK  
>  Sure, Trace.  
>  _(pauses)_

She simmers, knowing this is just placatory.

> NICK  
>  _(desperate)_  
>  Look ... would you  wait till I get back?

> TRACY  
>  _(dangerous)_  
>  You don't think I can handle it?  
>  _(continues)_

Nick tries to calm Tracy, who continues regardless.

>  NICK  
>  _(urgent, simultaneous)_  
>  No.  It's got nothing to do with....  
>  _(breaks off)_

> TRACY  
>  _(continues, simultaneous)_  
>  You're a  fine one to talk—  
>  _(continues)_

Nick stops talking, distracted by the sight of Ianetti (in b.g.) heading towards the rear exit out of the police station.  FOCUS SHIFTS TO IANETTI IN B.G.  Tracy continues talking, but lowers her voice.

> TRACY  
>  _(continues, suppressed)_  
>  —taking personal time to go off ...  God knows where—  
>  _(continues)_

CUT TO:

108\. INSERT—CLOSE-UP OF IANETTI FROM BEHIND

Quick shot.

> TRACY (O.S.)  
>  _(continues, suppressed)_  
>  —for  however long you'll be away...  
>  _(continues)_

CUT TO:

109\. ANGLE TOWARDS THE REAR OF THE ROOM—NICK & TRACY IN F.G.

Nick is only half focusing on Tracy.  In b.g., Ianetti walks down to the rear of the room and out the door.

> TRACY  
>  _(continues, suppressed)_  
>  ... right in the middle of your shift ... and  
>  expecting me to cover for you.  
>  _(pause for breath)_  
>  For the  third day in a row, Nick!  Honestly,  
>  whatever this problem is—  
>  _(continues)_

> NICK  
>  _(attempts to break in, simultaneous)_  
>  Okay, okay.  Do as you please.  
>  _(impatient pause)_

> TRACY  
>  _(continues simultaneously, sullen)_  
>  —that you don't want to talk about with your  
>  own  partner even!—  
>  _(stops for breath)_

> NICK  
>  _(breaks in, urgent)_  
>  I've got to  go.

Tracy takes an impatient breath, and then presses her lips together—stopping her complaint in order to deal with the important matter.

> TRACY  
>  Do you have Sorenson's address, for Heaven's  
>  sake?

Nick sees the easy escape.

> NICK  
>  _(quickly)_  
>  No.  No, I  don't.

CUT TO:

110\. ANGLE TOWARDS THE FRONT OF THE ROOM—NICK & TRACY IN F.G.

He turns and hurries away (TOWARDS THE CAMERA & O.S.), heading for the rear exit.  Tracy stares after him, utterly amazed—both by his rushed departure, and by the fact that it's taken him this long to say something that he could have said when she first asked for the addresss.

CUT TO:

111\. EXT. REAR OF POLICE STATION—CLOSE ANGLE ON DOOR—NIGHT

The door opens and Nick comes out.

CUT TO:

112\. EXT. PARKING LOT—LONG SHOT—NIGHT

Ianetti is getting into his car.

CUT TO:

113\. CLOSE-UP OF NICK—FROM BEHIND

He pulls out his phone, and punches the number for The Raven.

CUT TO:

114\. EXTREME CLOSE-UP OF NICK—FROM IN FRONT

The phone is to his ear.  Faintly, we hear it RINGING.  Nick's attention, however, is on Ianetti (o.s.).

CUT TO:

115\. LONG SHOT

Ianetti backs his car out of its parking space.

> NICK (V.O.)  
>  Is Vachon there?

CUT TO:

116\. EXT. RAVEN—CLOSE-UP OF VACHON—NIGHT

He comes out of the door into the street.  HE APPROACHES THE CAMERA.  He looks around, and then his eyes look up.

CUT TO:

117\. FLIGHT EFFECT—BLURRED CLOSE-UP OF WALL—STRAIGHT UP

CUT TO:

118\. FLIGHT EFFECT—BLURRED WINDOWS—UP TO THE RIGHT

CUT TO:

119\. AERIAL VIEW OF TORONTO—NIGHT

CUT TO:

120\. INT. POLICE STATION—CLOSE-UP OF TRACY—ACROSS HER DESK

She gets up, and pushes her chair in.

CUT TO:

121\. AERIAL VIEW OF TORONTO—NIGHT

CUT TO:

122\. EXT. POLICE PARKING LOT—CLOSE ANGLE ON TRACY'S CAR—NIGHT

She opens the driver's door and gets in.

CUT TO:

123\. AERIAL VIEW DOWN ON STREETS—NIGHT

ANGLE SHIFTS AROUND & THEN FOLLOWS ONE STREET.  On the street below, Tracy's car is driving along.

CUT TO:

124\. EXT. SIDESTREET—ANGLE ALONG THE STREET TOWARDS THE SIDEWALK (ON R.S.)—NIGHT

This is a well-treed midtown residential street.  There are cars parked along the street, leaving few parking spaces.  TRACY'S CAR COMES ON SCREEN IN F.G.  It drives along the street, halts, and then backs in.

CUT TO:

125\. CLOSE ANGLE ON CAR ON CURB SIDE

Tracy opens the driver's door and gets out.  She heads for the rear of the car.

CUT TO:

126\. CRANE SHOT—DOWN ON TRACY'S CAR

Tracy rounds the car, cuts across the verge to the sidewalk, and walks along for a bit.  Then she stops.

CUT TO:

127\. EXTREME CLOSE-UP OF TRACY

She frowns.

CUT TO:

128\. CRANE SHOT—DOWN ON TRACY

Tracy stands on the sidewalk, looking around.

CUT TO:

129\. CLOSE-UP OF TRACY—FROM IN FRONT—ANGLE DOWN

She looks around nervously.  Involuntarily, she checks her holster.  Then she pulls herself together, shakes her head slightly, and walks on (TOWARDS THE CAMERA).

CUT TO:

130\. CRANE SHOT—ANGLED DOWN ON TRACY (FROM BEHIND)

Tracy walks along, and then turns and goes up the front walk of Sorenson's house.

CUT TO:

131\. EXT. THE RAVEN—NIGHT (STOCK)

CUT TO:

132\. INT. THE RAVEN—HIGH ANGLE SHOT

URS leaves the stage, and heads for the bar on break.

CUT TO:

133\. CLOSE ANGLE TOWARDS THE BAR

A lot of people want drinks, and LaCroix is behind the bar helping out.  CAMERA CLOSES IN AS URS COMES UP.

> URS  
>  _(idly)_  
>  Do you see Javier anywhere?  I thought he said  
>  he was coming in tonight.

LaCroix pushes a glass over to a customer.  Then he turns to her.  CAMERA CONTINUES TO CLOSE IN TO TWO-SHOT.

> LaCROIX  
>  He got a phone call earlier.  Bolted out of here.

LaCroix looks at Urs inquisitively.

> URS  
>  _(taken aback)_  
>  I don't know.  
>  _(pause)_  
>  Who  was it?  Do you know?

> LaCROIX  
>  _(thoughtful)_  
>  Yes.

He turns away as A WOMAN comes up to the bar.  She is sultry, sexy, and dressed in a very low-cut dress.

CUT TO:

134\. TWO-SHOT OF LaCROIX & WOMAN—ANGLE INTO THE ROOM

> WOMAN  
>  _(low, sexy)_  
>  White wine, honey.

She smiles seductively at LaCroix.  He smiles back.

> URS (O.S.)  
>  _(puzzled)_  
>  Who was it, then, LaCroix?

LaCroix is busy pouring the drink.  He doesn't answer.  ANGLE SHIFTS DOWN THE BAR TO URS.  She waits, getting slightly annoyed that LaCroix doesn't answer when it was he who brought up the phone call.  CAMERA SHIFTS BACK TO TWO-SHOT OF LaCROIX AND THE WOMAN.  He takes her money.  She leans forward, and—

CUT TO:

135\. INSERT—EXTREME CLOSE-UP OF LaCROIX'S LIPS

—runs her finger over his lips.

CUT TO:

136\. INSERT—EXTREME CLOSE-UP OF WOMAN (LaCROIX'S P.O.V.)

> WOMAN  
>  Maybe we could meet up later, hmmmm?

CUT TO:

137\. INSERT—EXTREME CLOSE-UP OF LaCROIX (WOMAN'S P.O.V.)

He smiles in a predatory way.

CUT TO:

138\. CLOSE-UP OF URS—FROM BEHIND THE BAR (ANGLE AS BEFORE)

> URS  
>  _(slightly annoyed)_  
>  When you've done with  her, you might get  
>  me a drink too, y'know.

CUT TO:

139\. INSERT—CLOSE TWO-SHOT OF LaCROIX & WOMAN (URS'S P.O.V.)

LaCroix's eyes flicker in Urs's direction, but then return to the woman.  She winks flirtatiously at him, and then steps back, turning (towards Urs) to go.

CUT TO:

140\. CLOSE ANGLE FROM BEHIND BAR—LaCROIX ON L.S., URS ON R.S.

The woman turns and walks away with a flirtatious backward glance at LaCroix.  After she has gone o.s., he turns to Urs, and stares at her coldly.

> URS  
>  _(abashed)_  
>  Sorry.  But I'm thirsty, y'know.  I  would like  
>  that drink.

There is a brief, chilly pause.

> LaCROIX  
>  Drinks ... are at something of a premium at  
>  the moment.  
>  _(relents)_  
>  However ... as you work here, Urs.

He reaches under the bar for a bottle of blood.

CUT TO:

141\. TWO-SHOT TOWARDS THE BAR—LaCROIX ON R.S., URS ON L.S.

CAMERA CLOSES IN ON LaCROIX as he straightens with a bottle, reaches up for a glass, puts it on the bar, opens the bottle, and pours blood into the glass.  Looking down as he pours....

> LaCROIX  
>  _(graciously)_  
>  One glass.

ANGLE SHIFTS DOWN TO THE GLASS AS IT IS FILLED.  THEN IT SHIFTS BACK UP TO CLOSE-UP OF LaCROIX AS HE PICKS UP THE GLASS.  He looks at Urs as he holds it out to her.

CUT TO:

142\. INSERT—CLOSE-UP OF THEIR HANDS—FROM LaCROIX'S P.O.V.

Urs takes the glass from him.  CAMERA SHIFTS UP TO CLOSE-UP OF URS.  She pauses without drinking, looking at LaCroix in puzzlement.

CUT TO:

143\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(sweet warning)_  
>  Make it  last.  That's all I can spare you.

CUT TO:

144\. INSERT—RETURN TO CLOSE-UP OF URS

Puzzled.

CUT TO:

145\. TWO-SHOT OF URS & LaCROIX (SAME ANGLE AS BEFORE)

Smiling slightly, LaCroix puts the cork back in the bottle and the bottle back under the counter.

CUT TO:

146\. INSERT—RETURN TO CLOSE-UP OF URS

Urs sips her drink, still looking at LaCroix.

CUT TO:

147\. RETURN TO TWO-SHOT

LaCroix turns away and walks over to someone waiting along down the bar.  Urs turns round (TOWARDS THE CAMERA) and walks away from the bar.  THE CAMERA TURNS & FOLLOWS HER through the room.  SOO-LING COMES ON SCREEN AHEAD.  CAMERA HOLDS TWO-SHOT as Urs pauses by Soo-Ling.

> URS  
>  Soo-Ling, do you have any idea—?  
>  _(breaks off)_

The other vampire smells the blood in Urs's glass.

CUT TO:

148\. QUICK INSERT—EXTREME CLOSE-UP OF URS'S GLASS

CUT TO:

149\. QUICK INSERT—EXTREME CLOSE-UP OF SOO-LING'S FACE

Her nostrils flare, and her eyes are green.

CUT TO:

150\. QUICK INSERT—EXTREME CLOSE-UP OF URS

Taken aback.

CUT TO:

151\. QUICK INSERT—EXTREME CLOSE-UP OF SOO-LING'S FACE

Eyes on Urs's glass.

CUT TO:

152\. QUICK INSERT—EXTREME CLOSE-UP OF URS'S GLASS

CUT TO:

153\. RETURN TO TWO-SHOT

Urs draws her glass back a bit.

> URS  
>  _(wary)_  
>  What is it?

Soo-Ling licks her lips.  Then she looks up at Urs.

> SOO-LING  
>  _(envious)_  
>  He let you  have a glass.

There is a wary pause.

> URS  
>  _(slightly interrogative)_  
>  Yes.

Soo-ling frowns prettily.

> SOO-LING  
>  Don't you know? Haven't you heard?

> URS  
>  Heard what?

CUT TO:

154\. INT. TRACY'S LIVING ROOM—THRU THE WINDOW INTO THE ROOM—NIGHT

THE LIGHTS SWITCH ON.  IN B.G., TRACY COMES ON SCREEN.  She has just come home.  She drops her bag on the coffee table in the centre of the living room.  She stretches.  CAMERA PULLS BACK THRU WINDOW as she comes over to pull the curtains shut.  FLIGHT SOUND EFFECT.

CUT TO:

155\. FLIGHT EFFECT—BLURRED WINDOWS UP TO THE LEFT

CUT TO:

156\. INT. DESERTED CHURCH—LONG SHOT DOWN FROM ENTRANCE

Down in the room, Urs is waiting impatiently.  VACHON COMES ON SCREEN IN EXTREME F.G.

> URS  
>  Javier!  
>  _(continues)_

CUT TO:

157\. INSERT—REVERSE PERSPECTIVE—URS IN EXTREME F.G. ON L.S.

Vachon pauses at the top of the stairs.

CUT TO:

158\. RETURN TO LONG SHOT

> URS  
>  _(continues, nervous)_  
>  I heard a rumour about a shortage of blood!

CUT TO:

159\. RETURN TO REVERSE PERSPECTIVE

Vachon comes downstairs.

> VACHON  
>  _(shortly)_  
>  Mieka says the shipment is  delayed.  I don't  
>  know why.

> URS  
>  _(horrified)_  
>  It's true?!

Vachon walks across the room to Urs.

> VACHON  
>  Yeah.  Knight's kinda worried about it.  He  
>  asked me to keep an eye on Tracy tonight.  
>  _(continues)_

CAMERA ADJUSTS TO TWO-SHOT as Vachon joins Urs.

> VACHON  
>  _(continues, smiles)_  
>  Y'know how she is ... going off following  
>  up her  own leads.

> URS  
>  _(distressed)_  
>  You mean people are  hunting?  Not just now  
>  and then for fun, I mean ... but hunting every  
>  night for food ... the way it used to be?

> VACHON  
>  _(shrugs)_  
>  I guess so.  If not already, then soon, sure.

CUT TO:

160\. INSERT—EXTREME CLOSE-UP OF URS

> URS  
>  _(despairing)_  
>  No.  I can't do it, Javier; I can't.  Not bite into  
>  living flesh again!

CUT TO:

161\. INSERT—EXTREME CLOSE-UP OF VACHON

Worried.

CUT TO:

162\. INSERT—RETURN TO EXTREME CLOSE-UP OF URS

Despairing.

CUT TO:

163\. INSERT—RETURN TO EXTREME CLOSE-UP OF VACHON

Worried.

CUT TO:

164\. RETURN TO TWO-SHOT OF VACHON & URS

Vachon makes up his mind, and walks past Urs, patting her reassuringly on the upper arm as he goes by.  Urs turns to keep her eyes on him.  CAMERA HOLDS ON HIM (KEEPING URS IN F.G.).  He goes and kneels by a box in the corner.

CUT TO:

165\. CLOSE-UP OF VACHON

He reaches into the box.

> VACHON  
>  Here. My last two bottles.  
>  _(continues)_

He hefts them out, one in each hand, and holds them up, turning round to Urs.  He jokes to stop effusions of gratitude.

> VACHON  
>  _(continuing)_  
>  Thy need is greater than mine, and all that.

CUT TO:

166\. RETURN TO SHOT

> URS  
>  But Javier...!

He gets to his feet.

> VACHON  
>  No ... it's all right.  You need them.  
>  _(continues)_

He walks back to Urs.

> VACHON  
>  _(continues)_  
>  Don't worry about  me.  I can take care of  
>  myself.

CAMERA ADJUSTS TO TWO-SHOT.  He hands her the bottles.  She takes them, still looking worried.  He smiles at her.

CUT TO:

167\. MOON IN THE NIGHT SKY (STOCK)

> LaCROIX (V.O.)  
>  _(as Nightcrawler)_  
>  Surely the lord of the natural world is the  hunter.  
>  _(continues)_

CUT TO:

168\. QUICK INSERT—CLOSE-UP OF LEOPARD—NIGHT (STOCK)

CUT TO:

169\. INT. BROADCAST BOOTH—EXTREME CLOSE-UP OF LaCROIX, TALKING INTO THE MICROPHONE

> LaCROIX  
>  _(continues)_  
>  The  leopard, the lynx, the lion ... swift and  
>  deadly.  
>  _(with relish)_  
>  Preying on those—  
>  _(slight scorn)_  
>  — softer, gentler beasts that fall to their  
>  fangs by right.  
>  _(pauses)_

DISSOLVE TO:

170\. INSIDE NICK'S CAR—CLOSE-UP OF NICK—NIGHT

Nick is driving along, brooding, while listening to the car radio.

> LaCROIX (V.O.)  
>  _(continues, insinuating)_  
>  And  can the leopard change his spots?  
>  _(continues)_

CUT TO:

171\. EXTREME CLOSE-UP OF LaCROIX—INTO THE CAMERA

> LaCROIX  
>  _(continues, with energy)_  
>  Dye it or bleach it or shave it all off!—underneath...  
>  _(with significance)_  
>  ...the  cat remains.  
>  _(pauses)_

CUT TO:

172\. AERIAL VIEW OF TORONTO DOWNTOWN—ANGLE DOWN ON STREETS—NIGHT

Vachon is flying over the city.  CAMERA CIRCLES ROUND.

> LaCROIX (V.O.)  
>  _(after pause, throaty)_  
>  The  hunter prowls.  
>  _(continues)_

CUT TO:

173\. EXTREME CLOSE-UP OF LaCROIX—INTO THE CAMERA

LaCroix smiles.

> LaCROIX  
>  _(continues)_  
>  The fangs are sharp, the claws are keen.  
>  _(continues)_

CUT TO:

174\. AERIAL VIEW DOWN ON PARKING LOT—NIGHT

There are several cars parked.

> LaCROIX (V.O.)  
>  _(continues)_  
>  The  prey ... awaits its fate.

CUT TO:

175\. FLIGHT EFFECT—BLURRED SHOT OF WINDOWS—VERTICALLY DOWN

FLIGHT SOUND EFFECT.

CUT TO:

176\. EXT. PARKING LOT—LONG SHOT—NIGHT

CAMERA SHIFTS TOWARDS A DARK CORNER. Vachon emerges from the shadows.

CUT TO:

177\. CLOSE-UP OF VACHON

Half in shadow.  Watchful.

CUT TO:

178\. LONG SHOT—REVERSE PERSPECTIVE (VACHON'S P.O.V.)

A WOMAN walks up to one of the parked cars (on the far side of the car).

CUT TO:

179\. CLOSE-UP OF WOMAN—SIDE VIEW

She looks around nervously.

CUT TO:

180\. CLOSE-UP OF VACHON

He looks at her longingly.

CUT TO:

181\. CLOSE ANGLE ON WOMAN BY THE CAR

She gropes in her handbag for her car keys.

CUT TO:

182\. CLOSE-UP OF VACHON

He takes one step forward, out of the shadows.

CUT TO:

183\. CLOSE-UP OF WOMAN

She gropes in her bag, and then pulls out her car keys.

CUT TO:

184\. EXTREME CLOSE-UP OF VACHON'S MOUTH

He licks his lips.

CUT TO:

185\. EXTREME CLOSE-UP OF WOMAN'S THROAT—FROM IN FRONT

CUT TO:

186\. EXTREME CLOSE-UP OF VACHON

He looks hungry.

FADE OUT.

 

**END ACT TWO**

 

* * *

 

**ACT THREE**

 

FADE IN:

187\. EXT. POLICE PARKING LOT—CLOSE ANGLE ON TRACY'S CAR—ANGLE UP DRIVER'S SIDE, FROM THE REAR—NIGHT

Tracy gets out of the car and shuts the door.  She walks up to the back of the car, TOWARDS THE CAMERA (intending to head for the building).  However, she stops suddenly, and whirls round, looking to the left.

CUT TO:

188\. LONG SHOT—ALONG THE LINE OF PARKED CARS

Well along the line of cars, Tracy is standing by the trunk of her car, trying to see who is spying on her.

CUT TO:

189\. CLOSE ANGLE ON VACHON—IN DARK CORNER OF PARKING LOT

Vachon is standing hidden in the shadows, looking at Tracy.

CUT TO:

190\. INSERT—EXTREME CLOSE-UP OF TRACY

Her eyes widen as she spots him.

CUT TO:

191\. INSERT—EXTREME CLOSE-UP OF VACHON

CUT TO:

192\. INSERT—EXTREME CLOSE-UP OF TRACY

Her face hardens with anger.

CUT TO:

193\. RETURN TO LONG SHOT

Tracy quickly turns and heads for Vachon (TOWARDS THE CAMERA).

CUT TO:

194\. RETURN TO CLOSE ANGLE TOWARDS VACHON

Faced with a confrontation, Vachon is arrogantly casual.  TRACY COMES ON SCREEN IN F.G.  She stalks up to him.  CAMERA FOLLOWS HER & ADJUSTS TO TWO-SHOT.

> TRACY  
>  _(hard, accusing)_  
>  I want to  talk to you.  
>  _(continues)_

Vachon tilts his head back, looking defiant.

CUT TO:

195\. TWO-SHOT FAVOURING TRACY

> TRACY  
>  _(continues)_  
>  All last night I could  feel at the back of my NECK!—  
>  _(continues)_

She gestures with her left hand at the back of her neck.

> TRACY  
>  _(continues)_  
>  —that someone was there.  Now you're  here!  
>  _(flat, hard)_  
>  Admit it.  You've been  following me.

CUT TO:

196\. EXTREME CLOSE-UP OF VACHON

> VACHON  
>  _(slightly defiant)_  
>  Okay.  I wish you and your partner would stick  
>  together.  I wouldn't have to worry about you then.

CUT TO:

197\. EXTREME CLOSE-UP OF TRACY

> TRACY  
>  Oh, thank you!  You think I need a man to  
>  protect me, do you?  You think I can't look  
>  out for myself?

CUT TO:

198\. EXTREME CLOSE-UP OF VACHON

> VACHON  
>  _(rhetorical sigh)_  
>  What  is it with women nowadays?  I don't go—  
>  _(continues)_

CUT TO:

199\. EXTREME CLOSE-UP OF TRACY

Her eyes narrow.

> TRACY  
>  _(warningly, simultaneous)_  
>  Vachon!

> VACHON (O.S.)  
>  _(continues, simultaneous)_  
>  —flying all over the  city after you—  
>  _(continues)_

CUT TO:

200\. EXTREME CLOSE-UP OF VACHON

> VACHON  
>  _(continues, indignant)_  
>  —just for  fun!

> TRACY (O.S.)  
>  _(suspicious)_  
>  So what is it—  
>  _(continues)_

CUT TO:

201\. EXTREME CLOSE-UP OF TRACY

> TRACY  
>  _(continues)_  
>  —then?   What's going on?

CUT TO:

202\. EXTREME CLOSE-UP OF VACHON

He licks his lips, uncertain what to say; then he shrugs.

> VACHON  
>  _(uncertain)_  
>  Well, I suppose I  ought to tell you.

CUT TO:

203\. EXTREME CLOSE-UP OF TRACY

> TRACY  
>  _(assertive)_  
>  Well, I suppose you  ought!

CUT TO:

204\. TWO-SHOT FAVOURING VACHON

Vachon bites his lower lip, and nods reluctantly.

DISSOLVE TO:

205\. EXT. ANGLE ON STREET CORNER—NIGHT

Two or three PROSTITUTES are hanging about, looking for clients.  A car pulls up in f.g., and one of the women heads over to it, walking provocatively.

> VACHON (V.O.)  
>  Do you remember a few days ago there was a  
>  report of a hijacked wine shipment?  
>  _(continues)_

CUT TO:

206\. CLOSE-UP OF PROSTITUTE—FROM BEHIND

She bends down, and looks in the passenger's side window, which has been rolled down.

> VACHON (V.O.)  
>  _(continues, with significance)_  
>  It wasn't wine.

The door is opened by the DRIVER, and she gets in, shutting the door.

CUT TO:

207\. CLOSE-UP OF PROSTITUTE—FROM DRIVER'S SEAT

She turns, and smiles at the driver.

CUT TO:

208\. CLOSE-UP OF DRIVER—FROM PASSENGER'S SEAT

The driver is a vampire.  He smiles, toothily.

CUT TO:

209\. EXT. ALLEY—TWO-SHOT OF VAMPIRE & VICTIM—NIGHT

Between a couple of garbage cans, ANOTHER MALE VAMPIRE grabs a dirty, badly dressed, unshaven TRAMP.  He bends the man's neck to one side.  The tramp is terrified, but helpless.  The vampire bends to bite.

CUT TO:

210\. INT. ROOM—CLOSE TWO-SHOT OF SOO-LING & VICTIM, FAVOURING SOO-LING

Quick shot. Soo-Ling's teeth are sunk in the neck of her VICTIM, a bare-chested man.

CUT TO:

211\. EXTREME CLOSE-UP OF TRACY

Her eyes are wide with shock.

> TRACY  
>  _(moans)_  
>  Oh, my  God.

CAMERA ADJUSTS TO CLOSE TWO-SHOT.  Vachon is standing beside her, his arm around her shoulder.  He bends close, looking concerned.

> VACHON  
>  Trace?

> TRACY  
>  It's horrible.  Like some Fright Night horror  
>  movie come to real life!  It's hard to believe  
>  it's true.  I mean...  
>  _(disbelief)_  
>  ...here in  Toronto?!  
>  _(continues)_

Vachon looks down, uncertain how to respond to this.

> TRACY  
>  _(continues, perplexed)_  
>  We sure haven't had a whole bunch of  bitten  
>  corpses to investigate!

Vachon looks astonished, then amused.

> VACHON  
>  _(stifling a laugh)_  
>  Of  course not!  The existence of vampires is  
>  supposed to be a secret!  
>  _(continues)_

Tracy looks a bit embarrassed.

> VACHON  
>  _(continues)_  
>  The bodies get...  
>  _(hesitates)_  
>  ... disposed of.

> TRACY  
>  _(quickly)_  
>  Don't tell me!  I don't want to know.

Vachon smiles at her with all his charm, and she smiles back weakly.

CUT TO:

212\. CLOSE ANGLE TOWARDS REAR ENTRANCE TO SQUAD ROOM

Tracy comes in the door, looking preoccupied.  On r.s., Captain Reese is talking to a uniformed police officer.  As Tracy goes by, heading for her desk, Reese spots her.

> REESE  
>  Oh, Vetter!

Tracy—her mind elsewhere—starts in surprise.  Then she pulls herself together and turns round.

> TRACY  
>  Yes, Cap?

Reese slowly walks up to her.

> REESE  
>  _(non-confrontational)_  
>  I haven't seen  Knight this evening.  You know  
>  where he is?

CUT TO:

213\. CLOSE-UP OF TRACY—REESE'S P.O.V. (INTERCUT W/ MAIN SHOT)

A flicker of uncertainty crosses her face.  Then, quickly, she covers for Nick.

> TRACY  
>  _(brightly)_  
>  Oh, he's following up a  lead, Captain.

CUT TO:

214\. MAIN SHOT

> REESE  
>  _(touch of scepticism)_  
>  Uh-huh.  And where've  you been?

CUT TO:

215\. CLOSE-UP OF TRACY

> TRACY  
>  _(apologetic smile)_  
>  Following up another lead?

CUT TO:

216\. MAIN SHOT

> REESE  
>  _(snorts)_  
>  You two are supposed to be  partners!

CUT TO:

217\. CLOSE-UP OF TRACY

> TRACY  
>  But Cap—you know we work better developing  
>  our own lines of investigation.

CUT TO:

218\. MAIN SHOT

> REESE  
>  _(slight sarcasm)_  
>  So how's  your 'line of investigation' coming  
>  along?

CUT TO:

219\. CLOSE-UP OF TRACY

She smiles ruefully, and makes an equivocal hand gesture.

CUT TO:

220\. EXT. NICK'S BUILDING—NIGHT (STOCK)

> NICK (O.S.)  
>  _(impatient)_  
>  LaCroix, I'm late for work.

CUT TO:

221\. INT. NICK'S APARTMENT—CLOSE-UP OF LaCROIX IN FRONT OF THE FIREPLACE (INTERCUT W/ CLOSE ANGLE ON NICK)

He stands, looking imperiously at Nick (o.s.).

> LaCROIX  
>  _(sneering)_  
>  And is that supposed to bother  me?  There's  
>  only one investigation that should concern  
>  you—and you don't seem to me to be taking  
>  it seriously.  
>  _(continues)_

CUT TO:

222\. CLOSE ANGLE ON NICK (LaCROIX'S P.O.V.)

He is standing at the edge of the dining room table, poised to leave the apartment.

> LaCROIX (O.S.)  
>  _(continues, condescending)_  
>  Get the hijacking transferred to your case load.  
>  _(continues)_

CUT TO:

223\. CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues, exasperated)_  
>  Don't leave it in the hands of a mortal!

CUT TO:

224\. CLOSE ANGLE ON NICK

CAMERA CLOSES IN TO CLOSE-UP AS HE SPEAKS.

> NICK  
>  _(losing patience)_  
>  I'm a  Homicide detective.  It's a robbery case.  
>  _(exasperated)_  
>  For God's sake, LaCroix!  The driver's in  
>  hospital—he wasn't killed!

CUT TO:

225\. CLOSE-UP OF LaCROIX

LaCroix takes a step forward (TOWARDS THE CAMERA).

> LaCROIX  
>  _(interested)_  
>  You mean ... if he were to  die, then the case  
>  would be yours?

CUT TO:

226\. INSERT—EXTREME CLOSE-UP OF NICK

Nick points his finger at LaCroix.

> NICK  
>  _(emphatic)_  
>  Don't!!

CUT TO:

227\. INSERT—EXTREME CLOSE-UP OF LaCROIX

Face hardens at Nick's tone of voice.

CUT TO:

228\. RETURN TO CLOSE-UP OF NICK

> NICK  
>  _(firm)_  
>  You all called me in on this.  Now let me  
>  handle it ... my own way.

Nick turns and hurries off towards the elevator.

CUT TO:

229\. INT. POLICE STATION—CLOSE ANGLE TOWARDS THE FRONT DESK, FROM THE SQUAD ROOM

The desk sergeant is doing something or other behind the desk.  O.S. up the room, Nick's phone RINGS faintly.

CUT TO:

230\. INSERT—CLOSE-UP NICK'S DESK

The phone RINGS again.

CUT TO:

231\. RETURN TO SHOT

CAMERA CLOSES IN as the sergeant reaches down to get a form.  THE PHONE RINGS.  He straightens, puts the form on top of the desk, and then picks up the receiver.  The caller is Mike Campbell, and he wants to talk to Nick.

> DESK SERGEANT  
>  Ninety-sixth precinct....  
>  _(listens)_  
>  No, he's  not in.  
>  _(listens)_

Campbell asks whether Tracy is in.  The sergeant twists round to look up the room.

CUT TO:

232\. QUICK INSERT—CLOSE ANGLE ON TRACY'S DESK (SERGEANT'S P.O.V.)

> DESK SERGEANT (O.S.)  
>  No—  
>  _(continues)_

CUT TO:

233\. RETURN TO SHOT

> DESK SERGEANT  
>  _(continues)_  
>  — she's gone out.

CAMERA CONTINUES TO CLOSE IN as he listens some more. He presses his lips together in slight annoyance.

> DESK SERGEANT  
>  _(brisk)_  
>  I'm sorry—I can't release information about  
>  a case over the phone.

He hangs up, with a slight shake of his head, and then goes back to what he had been doing when the phone rang.

CUT TO:

234\. CLOSE-UP OF FRONT DOOR FROM ALONG THE FRONT CORRIDOR

Nick pushes the door open.  CAMERA PULLS BACK, HOLDING ON HIM as he comes hurried along the corridor.  THE ANGLE SHIFTS TO INCLUDE THE FRONT DESK ON R.S.  The desk sergeant looks up from his work.

> DESK SERGEANT  
>  _(surprised)_  
>  Detective Knight!  
>  _(continues)_

Nick raises a hand in greeting as he passes the desk.

> DESK SERGEANT  
>  _(continues)_  
>  I was beginning to think I'd got the schedules—  
>  _(continues)_

Nick hesitates at the gate, struck by sudden panic.

> DESK SERGEANT  
>  _(continues)_  
>  —mixed up and it was your night off.

Nick turns to the desk.

> NICK  
>  _(feigning ease)_  
>  I wish!  
>  _(hesitates)_  
>  Uh ... my  partner ... she's in?

> DESK SERGEANT  
>  _(surprised)_  
>  Why,  no!  She's been in ... and out again.   
>  She left some time ago.

Nick nods.  CAMERA SHIFTS OVER TO CLOSE ANGLE BEHIND THE DESK AS NICK GOES THROUGH THE SWING GATE.  Suddenly the sergeant turns round.

> DESK SERGEANT  
>  _(tentative)_  
>  Uh ... there're a couple of  messages for you.

Nick stops and turns round.

> DESK SERGEANT  
>  A Mister Campbell just called?  
>  _(continues)_

Nick nods.

> DESK SERGEANT  
>  _(continues)_  
>  About your murder victim—he wants to know  
>  when the body'll be released.  He's trying to  
>  make the funeral arrangements.  
>  _(continues)_

> NICK  
>  _(interpolation)_  
>  Right.

> DESK SERGEANT  
>  _(continues)_  
>  Also—the M.E.'s office called.

> NICK  
>  Did they say what it was about?

> DESK SERGEANT  
>  Uh-uh.

Nick frowns slightly, then nods.  He heads o.s. into the squad room.

CUT TO:

235\. EXTREME CLOSE-UP OF NICK—FROM BEHIND, ON HIS LEFT

CAMERA HOLDS ON NICK AS HE HASTENS UP THE ROOM.  As he nears Ianetti's desk, he glances over at it.  CAMERA ANGLE SHIFTS DOWN TO THE DESK.  Ianetti isn't there.  CAMERA SHIFTS UP TO NICK'S FACE ON THE RIGHT SIDE FROM BEHIND.  He turns, heading for Reese's office.

CUT TO:

236\. INT. REESE'S OFFICE—CLOSE-UP OF REESE AT HIS DESK, ON THE PHONE

> REESE (into phone)  
>  Yeah, well—you'd better call Ident ... tell them  
>  you need them over in the Manulife Centre.

He puts the phone down.  Simultaneously, Nick (o.s.) TAPS on his door.  Reese looks up.

CUT TO:

237\. CLOSE-UP OF NICK

The door is open.  Nick is standing in the doorway, his knuckles tapping on the glass.

CUT TO:

238\. CLOSE-UP OF REESE

> REESE  
>  _(rhetorically)_  
>  Knight.  Answer me something.  Who the  hell'd  
>  rob a blood donor clinic?!  
>  _(glares in disgust)_  
>  And I don't want to hear  any damn jokes about  
>  vampires!

CUT TO:

239\. CLOSE-UP OF NICK

Nick tries not to flinch.

> NICK  
>  _(mock-lightly)_  
>  Wasn't going to.  
>  _(feigning unconcern)_  
>  They get much?

CUT TO:

240\. CLOSE-UP OF REESE

> REESE  
>  Just the day's blood donations—  
>  _(heavily)_  
>  —damn  ghouls!  Black market blood  
>  products—I ask you!  
>  _(pauses)_

He shakes his head, deploring the theft.  Then his demeanour alters; he becomes more business-like.

> REESE  
>  _(continues)_  
>  And what'd' you want?  Your lead pan out?

CUT TO:

241\. CLOSE-UP OF NICK

> NICK  
>  _(as if a minor matter)_  
>  You seen Ianetti?

CUT TO:

242\. CLOSE-UP OF REESE

> REESE  
>  You just missed him.

CUT TO:

243\. EXT. POLICE PARKING LOT—ANGLE ALONG LINE OF CARS—NIGHT

In b.g., Ianetti is walking away, going out to his car.

> NICK (O.S.)  
>  Ianetti!  Wait up a minute!

Ianetti turns.  NICK COMES ON SCREEN, hurrying up to him.

> IANETTI  
>  _(a bit impatient)_  
>  What  is it, Knight?

CUT TO:

244\. TWO-SHOT—REVERSE PERSPECTIVE

Nick comes up to Ianetti.

CUT TO:

245\. EXTREME CLOSE-UP OF IANETTI

Impatient.  He has no idea, of course, what Nick wants.  HYPNOTIC HEARTBEAT BEGINS SOFTLY.

CUT TO:

246\. EXTREME CLOSE-UP OF NICK'S FACE

> NICK  
>  _(with_ HYPNOTIC EFFECT _)_  
>  Tell me about the hijacking case.

CUT TO:

247\. CLOSE-UP OF IANETTI

HYPNOTIC HEARTBEAT.  Ianetti's face goes blank.

> IANETTI  
>  _(hypnotized)_  
>  I've been liaising with the provincial police, the  
>  R.C.M.P., the F.B.I.  So far, we have no leads  
>  on the thieves directly.  But it's likely the wine  
>  is headed for black-market sales to bars,  
>  clubs—that sort of thing.  Not necessarily in  
>  Toronto, though.

CUT TO:

248\. TWO-SHOT—FAVOURING NICK

> NICK  
>  Have you had any tip-offs from informants?

> IANETTI  
>  Nothing conclusive.  Hints.

> NICK  
>  Tell me if anything comes in.  
>  _(continues)_

CUT TO:

249\. EXTREME CLOSE-UP OF NICK

HEARTBEAT & HYPNOTIC EFFECT ON NICK'S VOICE IS STRONG.

> NICK  
>  _(continues)_  
>  This is  important, Ianetti.  Any developments  
>  in the case ... you tell me.

CUT TO:

250\. EXTREME CLOSE-UP OF IANETTI

> IANETTI  
>  _(blankly)_  
>  Tell you.

CUT TO:

251\. TWO-SHOT FAVOURING NICK

> NICK  
>  But do it privately, so no one else knows I've  
>  been told about it.

> IANETTI  
>  _(slightly animated)_  
>  Sure thing.  No one will know.

Nick takes a couple of loonies out of his pocket.

> NICK  
>  And here—I owe you this.

A little discomfited by the subterfuge, he hands the money to Ianetti, who becomes alert as he takes it.

CUT TO:

252\. TWO-SHOT FAVOURING IANETTI

> IANETTI  
>  Oh, thanks, Knight.  I'd almost forgotten I lent  
>  you that.

CUT TO:

253\. ANGLE

In b.g., Ianetti's car backs out of the parking space and drives off.  In f.g., Nick stands watching.  CAMERA SHIFTS OVER TO HIM.  He pulls out his cell phone, and punches in Natalie's number.

CUT TO:

254\. INT. NATALIE'S OFFICE—CLOSE-UP OF NATALIE

Natalie is standing by her desk, in a lab coat, looking at a sheaf of notes.  The phone RINGS.  She quickly picks it up.

> NICK (on phone)  
>  Nat, you were trying to get hold of me?

> NATALIE  
>  Yeah, I've been called out to a suspected O.D.   
>  You said you wanted—  
>  _(interrupted)_

CUT TO:

255\. RETURN TO CLOSE-UP OF NICK

> NICK (into phone)  
>  _(interrupting)_  
>  Absolutely.  I'm on my way.

He puts his phone away.

CUT TO:

256\. EXT. CORONER'S BUILDING—NICK'S CAR OUTSIDE—NIGHT (STOCK)

CUT TO:

257\. INT. NATALIE'S OFFICE—CLOSE ANGLE TOWARDS THE DOOR

Nick opens the door and comes into the office.

> NICK  
>  _(easily)_  
>  You ready to go?

CUT TO:

258\. REVERSE ANGLE—CLOSE ANGLE ON NATALIE'S DESK

Natalie looks up from her work.

> NATALIE  
>  _(lightly)_  
>  The  limo's arrived, has it?

CUT TO:

259\. RETURN TO CLOSE ANGLE TOWARDS DOOR

Nick smiles.

CUT TO:

260\. RETURN TO CLOSE ANGLE ON NATALIE'S DESK

She gets up and heads for Nick.

CUT TO:

261\. RETURN TO CLOSE ANGLE TOWARDS THE DOOR

NATALIE COMES ON SCREEN IN F.G.  She goes over to Nick, who puts an arm lightly around her shoulders, smiling at her.  They head for the door.

> NATALIE  
>  _(lightly)_  
>  So ... how's  your life—  
>  _(continues)_

CUT TO:

262\. EXT. STREET—NICK'S CAR DRIVES ALONG—NIGHT

> NATALIE (V.O.)  
>  _(continues)_  
>  —when you're not playing chauffeur?

CUT TO:

263\. TWO-SHOT THRU WINDSHIELD

Nick attempts a light tone, but fails dismally.

> NICK  
>  I've been wondering whether I should book  
>  off sick for a few days!

CUT TO:

264\. CLOSE-UP OF NATALIE—THRU WINDSHIELD

> NATALIE  
>  _(snort)_  
>  Oh, Reese'd  love that!  Did you see today's  
>  paper?

She looks at him, with a wry grin, expecting a bantering reply.  CAMERA SHIFTS OVER TO NICK.  He is looking at the road.

> NICK  
>  _(flat)_  
>  No.  I didn't have time.  
>  _(pauses)_

CUT TO:

265\. INSERT—CLOSE-UP OF NATALIE—THRU WINDSHIELD

Still looking at him.  She is startled by his tone.

CUT TO:

266\. RETURN TO CLOSE-UP OF NICK

> NICK  
>  _(continues)_  
>  Right at the moment ... between the case  
>  I'm  supposed to be working and the damned  
>  hijacking...  
>  _(sideways glance)_  
>  ...life's got  far too complicated!  
>  _(pauses)_

CAMERA SHIFTS TO NATALIE. She looks at him, concerned.

> NICK (O.S.)  
>  _(continues)_  
>  What LaCroix's expecting me to do, I don't  
>  know!  
>  _(continues)_

CAMERA SHIFTS BACK TO NICK.  He is looking at the road.  His eyes again glance over to Natalie.

> NICK  
>  _(continues)_  
>  It's not my case!  
>  _(eyes back on road)_  
>  But try telling  him that.

CUT TO:

267\. INSERT—THE CAR DRIVES ALONG THE STREET

> NATALIE (V.O.)  
>  _(lightly)_  
>  Oh!—he just expects you to use your ' vampire  
>  powers'.

CUT TO:

268\. RETURN TO CLOSE-UP OF NICK

> NICK  
>  _(expostulating)_  
>  You'd think  he'd know they're not magic!  
>  _(disgruntled pause)_  
>  It's all very well to ask me to monitor the  
>  investigation—  
>  _(continues)_

Nick glances over at Natalie.  CAMERA SHIFTS OVER TO CLOSE-UP OF NATALIE.  She is looking at Nick.

> NICK (O.S.)  
>  _(continues)_  
>  — you know as well as I do that we don't often  
>  recover stolen goods.  
>  _(continues)_

Natalie glances away, and nods soberly.

CUT TO:

269\. CLOSE-UP OF NICK

He glances at her, worried; then looks back at the road.

> NICK  
>  _(continues, quiet emphasis)_  
>  At  some point in the next few days, someone,  
>  somewhere out there, is going to open a bottle of—  
>  _(light)_  
>  —black-market booze—  
>  _(continues)_

CUT TO:

270\. RETURN TO CLOSE-UP OF NATALIE

Her eyes are turned to Nick.

> NICK (O.S.)  
>  _(continues, with wry humour)_  
>  —and be  ve—ery puzzled by the drink they take.  
>  _(continues)_

CAMERA SHIFTS BACK TO NICK. He is looking at the road.

> NICK  
>  _(continues)_  
>  Being mortal.

DISSOLVE TO:

271\. FLASHBACK—INT. HENDRICKS'S PARLOUR—EXTREME CLOSE-UP OF CUT-GLASS DECANTER—NIGHT

The parlour is over-decorated in 1890s style, suitable for a man of the upper middle class.  O.S. to the left are French doors with heavy curtains.  Nick (o.s. on r.s.) and Hendricks (o.s. on l.s.) sit in hard-upholstered armchairs.  Between them is a small table with cut-glass wine glasses and decanter (of blood).

CAMERA PULLS BACK TO CLOSE-UP OF THE TABLE-TOP, AND THEN SHIFTS OVER TO INCLUDE HENDRICKS.  He picks up the decanter, and pours blood into a glass.  CAMERA PULLS BACK TO CLOSE ANGLE as Hendricks hands the glass to Nick.

> HENDRICKS  
>  Here.  Try this and tell me what you think.

Nick takes the glass.  He lifts it to his lips.

CUT TO:

272\. INSERT—EXTREME CLOSE-UP OF NICK

> NICK  
>  _(sips)_  
>  It's a  woman's blood.  
>  _(continues)_

CUT TO:

273\. INSERT—CLOSE-UP OF HENDRICKS

He is looking intently at Nick.

> NICK (O.S.)  
>  _(continues)_  
>  She'd been sick a  long time.  
>  _(continues)_

CUT TO:

274\. INSERT—RETURN TO EXTREME CLOSE-UP OF NICK

> NICK  
>  _(continues, slowly)_  
>  Elderly.  Lonely?  It's hard to tell the  earlier memories.  
>  _(continues)_

CUT TO:

275\. RETURN TO MAIN SHOT

> NICK  
>  _(continues)_  
>  The blood is...  
>  _(hesitant glance)_  
>  ...not quite fresh enough, perhaps?

Hendricks nods.  As he talks, Nick continues to sip.

> HENDRICKS  
>  But, taken all in all, it is a perfectly good,  
>  nourishing drink—though, unfortunately,  
>  I have so far discovered no way to preserve  
>  it for more than a few hours. Still—  
>  _(shrugs)_  
>  —as a pathologist I have access to those  
>  who die in the hospital. There is  quite enough  
>  cadaver blood to satisfy ... not only my own  
>  needs, but those of certain like-minded  
>  vampires.  
>  _(politely)_  
>  Yourself, perhaps?  You too see the dangers  
>  to the community inherent in contemporary  
>  developments in mortal society?

Nick looks a little startled: his distaste for killing is not based on pragmatism.

DISSOLVE TO:

276\. PRESENT—RETURN TO CLOSE-UP OF NICK IN THE CAR

CUT TO:

277\. NICK'S CAR DRIVES ALONG A SIDESTREET TOWARDS THE CAMERA, & PULLS UP IN F.G. BY THE CURB

CUT TO:

278\. CLOSE-UP OF NICK—THRU WINDSHIELD

> NICK  
>  I'll wait in the car till you're through, Nat.  I've  
>  no reason to be here—there might be questions.

CAMERA SHIFTS TO NATALIE, looking out the side window.

> NATALIE  
>  _(absently)_  
>  Okay.

Nick's words register; and she looks at him, in concern.

> NATALIE  
>  Nick, it sounds to me as though the questions ... are  
>  going to be asked by Joe Reese!  Not to mention  
>  Tracy!  You must be doing some pret-ty creative  
>  timekeeping.  
>  _(attempts light touch)_  
>  Or have they stopped all that  paperwork you're  
>  always complaining about?

CAMERA SHIFTS BACK TO NICK.

> NICK  
>  _(shortly)_  
>  I can handle it.  
>  _(pause)_  
>  We haven't any real  leads anyway.

CAMERA SHIFTS BACK TO NATALIE.  She still looks at him.

> NATALIE  
>  What does that mean?  
>  _(dry)_  
>  You plan to wait till the  next murder ... and  
>  hope for a miracle?

CUT TO:

279\. MOON IN THE SKY (STOCK)

LAP-DISSOLVE TO:

280\. AERIAL VIEW OF TORONTO (STOCK)

Vachon is flying over the city.

LAP-DISSOLVE TO:

281\. HIGH PARK—ANGLE UP

The moon can be seen through the branches of a tree.  ANGLE SHIFTS DOWN TO LONG SHOT OF THE PARK AT NIGHT.

LAP-DISSOLVE TO:

282\. RETURN TO AERIAL VIEW OF TORONTO (STOCK)

LAP-DISSOLVE TO:

283\. HIGH PARK—LONG SHOT

CAMERA CLOSES IN.  There is a scuffle in a dark area under some trees.  The gang are attacking their latest victim.  One of them has a knife.

CUT TO:

284\. FLIGHT EFFECT—BLURRED SHOT DOWN THROUGH BRANCHES

CUT TO:

285\. FLIGHT EFFECT—CLOSE ANGLE ON VACHON—BLURRED

He moves quickly across the screen (TOWARDS THE CAMERA).

CUT TO:

286\. TWO-SHOT OF VACHON & YOUTH

Vachon grabs one of the youths—

CUT TO:

287\. CLOSE ANGLE ON GROUP

—and tosses him aside from the victim.

CUT TO:

288\. INSERT—ANGLE UP ON YOUTH THROWN THROUGH THE AIR

CUT TO:

289\. RETURN TO SHOT

Vachon struggles with the others—who offer no real contest.

CUT TO:

290\. INSERT—ANGLE TOWARDS YOUTH VACHON THREW

Painfully, he starts to get to his feet.

CUT TO:

291\. RETURN TO SHOT

Most of the gang run away.  However, Vachon has the knife-wielder firmly in his grasp.  Their victim is lying unconscious on the ground.  CAMERA SWINGS ROUND, HOLDING ON THE GANG.  They run past the guy getting up, and he scrambles up to follow them.

CUT TO:

292\. CLOSE ANGLE ON VACHON & LEADER OF THE GANG OF YOUTHS

CAMERA CLOSES IN as the youth Vachon has caught struggles in his grasp.

CUT TO:

293\. INSERT—CLOSE TWO-SHOT FAVOURING VACHON

He bares his fangs to bite.

CUT TO:

294\. INSERT—CLOSE TWO-SHOT FAVOURING THE YOUTH

Vachon bites down.  The youth grimaces in pain.

CUT TO:

295\. INSERT—RETURN TO CLOSE TWO-SHOT FAVOURING VACHON

His teeth are sunk in the youth's neck.

CUT TO:

296\. RETURN TO CLOSE ANGLE

The youth struggles feebly.

CUT TO:

297\. RETURN TO CLOSE TWO-SHOT FAVOURING VACHON

For a perceptibly long time, Vachon drinks the youth's blood.

FADE OUT.

 

**END ACT THREE**

 

* * *

 

**ACT FOUR**

FADE IN:

298\. EXT. POLICE PARKING LOT—CLOSE-UP OF TRACY—NIGHT

CAMERA FOLLOWS TRACY as she walks up to her car.  She fumbles for her car key.  Just as she gets it out....

> VACHON (O.S.)  
>  Hi.

Startled, Tracy drops the key.  She turns her head.

CUT TO:

299\. TWO-SHOT FAVOURING VACHON

Tracy turns around:  Vachon is standing just behind her.

> TRACY  
>  _(exasperated)_  
>  Oh, I might have  known.

Vachon bends down—

CUT TO:

300\. INSERT—EXTREME CLOSE-UP OF KEY ON THE GROUND

—and picks up the key.

CUT TO:

301\. RETURN TO TWO-SHOT

He hands the key to her with a flourish.

CUT TO:

302\. TWO-SHOT FROM BEHIND VACHON

Tracy snorts and shakes her head.  Then, she unlocks her car door, and gets in.  Vachon heads round to the passenger side (TOWARDS THE CAMERA), and goes o.s.

CUT TO:

303\. INSIDE CAR THRU PASSENGER'S SIDE WINDOW—CLOSE-UP OF TRACY

She fastens her seat belt.  CAMERA PULLS BACK.  Vachon opens the door, gets in, and pulls it shut.  He sits relaxed.

CUT TO:

304\. EXTREME CLOSE-UP OF TRACY—FROM PASSENGER'S SEAT

> TRACY  
>  _(not looking at him)_  
>  You're still keeping an eye on me.

She starts the car.

CUT TO:

305\. EXTREME CLOSE-UP OF VACHON—FROM DRIVER'S SEAT

He is looking at her.

> VACHON  
>  I still need to.

CUT TO:

306\. EXTREME CLOSE-UP OF TRACY—FROM PASSENGER'S SEAT

She purses her lips, still a bit annoyed with him.

CUT TO:

307\. CLOSE-UP OF TRACY—FROM REAR SEAT

She turns around, and backs the car.

CUT TO:

308\. EXT. STREET—TRACY'S CAR DRIVES ALONG PAST THE CAMERA—NIGHT

CUT TO:

309\. ANGLE FROM BEHIND THE CAR

Ahead, at an intersection, the light turns red.

CUT TO:

310\. CLOSE ANGLE ON CAR—FROM IN FRONT

Tracy signals a left turn.

CUT TO:

311\. MED. ANGLE ON CAR FROM BEHIND

She changes into the left turn lane, and stops the car.

CUT TO:

312\. THRU CORNER OF WINDSHIELD & DRIVER'S SIDE WINDOW

> TRACY  
>  _(conversationally)_  
>  This case we're on at the moment—I don't  
>  think we'll break it without a  lot of luck.

> VACHON  
>  _(not very interested)_  
>  Oh?

Tracy glances at him, and then looks left at the traffic.

> TRACY  
>  _(idly)_  
>  Don't go taking a midnight stroll in  High  
>  Park, that's all I can say.

Vachon sits up sharply, though Tracy doesn't notice.

CUT TO:

313\. CLOSE-UP OF TRAFFIC LIGHT CHANGING TO GREEN

CUT TO:

314\. ANGLE ACROSS INTERSECTION TOWARDS TRACY'S CAR

Tracy makes her left turn.

CUT TO:

315\. INT. NICK'S APARTMENT—CLOSE-UP OF NICK—NIGHT

Nick is in the kitchen, putting clean glasses up on the bottom shelf.  At the sound of the FLIGHT SOUND EFFECT, he freezes.  Then he lowers his hand and turns round.

CUT TO:

316\. MED. ANGLE ACROSS TO WINDOW—NICK'S P.O.V. (INTERCUT W/ CLOSE-UP OF NICK)

Vachon is standing in front of the window, looking tense.

> NICK (O.S.)  
>  _(sharply)_  
>  Don't you—  
>  _(continues)_

CUT TO:

317\. CLOSE-UP OF NICK

> NICK  
>  _(continues)_  
>  —believe in  knocking?

CUT TO:

318\. MED. ANGLE ACROSS TO WINDOW

Vachon ignores this.

> VACHON  
>  You and Tracy are investigating those attacks  
>  in High Park.

CUT TO:

319\. CLOSE-UP OF NICK

> NICK  
>  _(still sharp)_  
>  There was another one  tonight; what of it?

CUT TO:

320\. MED. ANGLE ACROSS TO WINDOW

> VACHON  
>  _(tired)_  
>  Yeah.

Vachon reaches into his pocket.

CUT TO:

321\. CLOSE-UP OF NICK

Seeing he is preoccupied (not rude), Nick calms down.

CUT TO:

322\. CLOSE-UP OF VACHON

Vachon pulls out a wallet.

> VACHON  
>  Here.

He holds out the wallet.

CUT TO:

323\. ANGLE FROM BEHIND VACHON (IN F.G.) OVER TO NICK

Frowning slightly, Nick comes over.  CAMERA ADJUSTS TO TWO-SHOT as he takes the wallet.  Puzzled, he opens it.

CUT TO:

324\. INSERT—EXTREME CLOSE-UP OF WALLET.

He flips through it.  There is no money—but  
there is ID, in particular a driver's licence.

> VACHON (O.S.)  
>  I got it off one of the guys who did it.  
>  _(continues)_

CUT TO:

325\. INSERT—EXTREME CLOSE-UP OF NICK

Nick looks up, with a horrible suspicion.

CUT TO:

326\. RETURN TO TWO-SHOT

> VACHON  
>  _(continues soberly)_  
>  I can't take it to Tracy.  I don't think she  
>  really understands what it  means that I'm  
>  a vampire.

> NICK  
>  _(tense)_  
>  You've run out of bottled blood.

> VACHON  
>  Well, who hasn't?  
>  _(brief pause, wry smile)_  
>  Except a hoarder like LaCroix.

Nick glances back down at the wallet.

> NICK  
>  _(after a pause)_  
>  This driver's licence...  
>  _(looks at Vachon)_  
>  ...he was just a  kid.

> VACHON  
>  So?

> NICK  
>  _(sober)_  
>  I was thinking of his parents.

> VACHON  
>  _(annoyed)_  
>  I was thinking of the guy they were beating on.  
>  _(continues)_

CUT TO:

327\. INSERT—EXTREME CLOSE-UP OF VACHON

> VACHON  
>  _(continues, defensive)_  
>  Knight, I tend to be kinda  choosy who I kill.   
>  When I haven't been keeping an eye on Tracy,  
>  I've spent the last coupla nights flying around  
>  trying to find someone the world'll be a better  
>  place without.  
>  _(indignant)_  
>  I  even made a point of taking the one that had  
>  the knife.  And I called an ambulance for the  
>  guy they were killing!

CUT TO:

328\. RETURN TO TWO-SHOT

> NICK  
>  _(gently)_  
>  I'm sorry, Vachon.  I didn't realize.

> VACHON  
>  _(abashed)_  
>  Yeah, well.  You  probably think me a fool.

> NICK  
>  No.  No, I don't.  It's been a long time since  
>  I last killed someone.

> VACHON  
>  You're joking?!

He looks at Nick closely.  Nick looks back levelly, and Vachon realizes that he is not joking.

> VACHON  
>  _(curious)_  
>  Urs is like that.  She just can't bring herself  
>  to do it.

> NICK  
>  _(startled)_  
>  But how's she managing  now?

Vachon looks at him, worried.

CUT TO:

329\. INT. THE RAVEN—HIGH ANGLE SHOT

The club is closed.  Urs crosses the room silently, heading for the bar.  She goes behind it——

CUT TO:

330\. MED. ANGLE FROM ALONG NEAR THE END OF THE BAR

—and bends down, out of sight, looking underneath.  After a moment, THE CAMERA PULLS BACK:  LaCROIX is at the end of the bar.  He stands very still.

CUT TO:

331\. CLOSE-UP OF LaCROIX—URS'S PERSPECTIVE

He looks very dangerous.

> LaCROIX  
>  _(archly)_  
>  Looking for something?

CUT TO:

332\. RETURN TO MED. ANGLE

Urs gets up quickly, looking guilty.  She opens her mouth to make some excuse, but stops short.

CUT TO:

333\. EXTREME CLOSE-UP OF URS—LaCROIX'S P.O.V.

She swallows convulsively, looking scared.

CUT TO:

334\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(hard)_  
>  There isn't any  down there, anyway.  Not any  
>  more.  At least—  
>  _(slight contempt)_  
>  —I  assume you are looking for a bottle of  
>  blood?

CUT TO:

335\. RETURN TO EXTREME CLOSE-UP OF URS

She licks her lips nervously, and breaks eye contact.

> URS  
>  I ran out.

> LaCROIX (O.S.)  
>  _(dry)_  
>  Yes.  
>  _(continues)_

CUT TO:

336\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues)_  
>  I supposed as much.

Realizing that he completely dominates the situation, he looks more genial.

CUT TO:

337\. INSERT—EXTREME CLOSE-UP OF URS

Urs watches him warily.

CUT TO:

338\. RETURN TO CLOSE-UP OF LaCROIX

He goes round inside the bar.  CAMERA PULLS BACK ALONG THE OUTSIDE OF THE BAR, HOLDING ON HIM as he walks down towards her.

CUT TO:

339\. INSERT—EXTREME CLOSE-UP OF URS

> URS  
>  _(embarrassed)_  
>  I don't like  killing people.  
>  _(continues)_

CUT TO:

340\. RETURN TO CLOSE-UP OF LaCROIX

LaCroix stops in shock.  As he resumes walking—

> URS (O.S.)  
>  _(continues)_  
>  I know, you're probably going to—  
>  _(continues)_

LaCroix comes up to her. CAMERA ADJUSTS TO TWO-SHOT.

> URS  
>  _(continues)_  
>  —tell me I'm a  fool, and I really should  
>  get over that sort of—  
>  _(gulps, breaks off)_  
>  The others always said I was too squeamish  
>  to  believe, only—  
>  _(breaks off)_

LaCroix looks at her with patronizing amusement.

> URS  
>  _(continues, strained)_  
>  —it's just I  can't, LaCroix.  Truly, I can't.

> LaCROIX  
>  _(dry amusement)_  
>  Well, well, well.   Another one.  I would never  
>  have thought it!  
>  _(broader amusement)_  
>  What is the community coming to, I wonder?  
>  _(pauses)_

Urs relaxes into a slight degree of indignation.

> LaCROIX  
>  _(with curiosity)_  
>  Tell me, have you ever talked about this with  
>  Nicholas?

> URS  
>  _(puzzled)_  
>  No.

> LaCROIX  
>  _(archly)_  
>  He has some rather  odd notions of his own.

Urs just looks puzzled.

CUT TO:

341\. INT. NICK'S APARTMENT—CLOSE-UP OF NICK

Nick is standing at the open refrigerator door.  He has a bottle under his left arm.  He takes out another, tucks it in, takes a third for his left hand, and picks up a fourth in his right.  CAMERA PULLS BACK SLIGHTLY.  He nudges the door shut with his knee, and turns round.  CAMERA PULLS BACK TO TWO-SHOT.  Vachon has been waiting behind him, looking astonished at Nick's generosity.

> NICK  
>  _(laconically)_  
>  I should warn you:  it's cow's blood.

> VACHON  
>  _(surprised)_  
>  You're a carouche?  You don't seem the type!

Nick shakes his head.  CAMERA FOLLOWS as he starts for the dining table, talking over his shoulder to Vachon, who follows him.

> NICK  
>  _(lightly)_  
>  No—I just don't believe it's  right to milk  
>  humans for their blood.

CAMERA ADJUSTS AHEAD TO THE TABLE.  Several bottles are already on the table; also a large box.  CAMERA ADJUSTS BACK TO TWO-SHOT as Nick and Vachon get to the table.  Nick puts down the bottles he is carrying.

> NICK  
>  _(continues, conversationally)_  
>  I must admit, though—I do still feel the  
>  craving for the real stuff.  
>  _(continues)_

Vachon watches as Nick starts packing the box.

> NICK  
>  _(continues)_  
>  Dr. Lambert's been trying to find some  
>  substitute that satisfies me, but....  
>  _(pauses, grins)_  
>  Well, quite frankly, the goop she whips up  
>  tastes a  lot worse than cow's blood, believe  
>  me.

Nick packs the last of the bottles.

> NICK  
>  There you are.

He turns round, and backs a step so that Vachon has a clear path to get the box.

> VACHON  
>  _(seriously)_  
>  Thanks, Knight.  Urs will appreciate it.

> NICK  
>  Not at all.

He steps back another pace as Vachon picks up the box.

CUT TO:

342\. SUN OVER ROOFTOPS (STOCK)

CUT TO:

343\. INT. NICK'S APARTMENT—EXTREME CLOSE-UP OF THE WALLET

The wallet is lying on the coffee table.

> NICK (O.S.)  
>  What I should do with it, I don't know.

CAMERA PULLS BACK, ADJUSTING UP PAST THE CORNER OF THE TABLE TO NICK & NATALIE.  Nick sits in his chair, Natalie on the couch near him.  Both look towards the wallet, intently.

> NATALIE  
>  You'll have to come up with something, Nick.   
>  You can't just let these assaults continue.

> NICK  
>  No.

ANGLE SHIFTS UP UNTIL THE WALLET IS O.S.  Nick and Natalie sit back, their attention off the wallet.

> NATALIE  
>  Did Vachon tell you what he did with the body?

For a moment, Nick doesn't answer.  His eyes flicker away from her.

> NICK  
>  _(short)_  
>  No.

> NATALIE  
>  _(astonished)_  
>  Didn't you  ask?

Nick doesn't respond.  He looks towards the fireplace, and Natalie bridles a little.  He glances down, and then to her.

> NICK  
>  What would you do with it if it were found?  
>  _(pauses)_

CUT TO:

344\. INSERT—EXTREME CLOSE-UP OF NATALIE

About to make an easy quick response.

CUT TO:

345\. INSERT—EXTREME CLOSE-UP OF NICK (NATALIE'S P.O.V.)

He looks at her keenly.

> NICK  
>  _(continues)_  
>  What would you put on the death certificate?

CUT TO:

346\. INSERT—EXTREME CLOSE-UP OF NATALIE

Natalie is confounded by the question.  For a moment she is still; about to speak, she stops short, and glances away with a slight thoughtful frown.

CUT TO:

347\. RETURN TO SHOT

Her eyes are wide and unfocused. After a long pause, she relaxes into a near-shrug. Then she turns to Nick.

> NATALIE  
>  _(thoughtfully)_  
>  You know, Nick ... that's a  damnably good  
>  question.  
>  _(shakes her head)_

> NICK  
>  _(grim)_  
>  Well, think about the  answer.  Because if  
>  this goes on, you're going to need it.

CAMERA CLOSES IN ON NATALIE.

> NATALIE  
>  _(serious)_  
>  Nick ... how long do you think it will take for  
>  a change in Missing Persons statistics to be noticed?   
>  Not to mention the likelihood of a body being  
>  found ... and autopsied by someone other than  
>  me.

CUT TO:

348\. CLOSE-UP OF NICK

> NICK  
>  Well, that's why LaCroix's worried.  
>  _(wry amusement)_  
>  How ironic.  He's  such a conservative.

He looks reminiscent.

CUT TO:

349\. FLASHBACK—INT. PARLOUR—CLOSE-UP OF NICK—NIGHT

Nick and Hendricks (o.s.) sit with the decanter on the table between them.  Nick sips from his glass.

> LaCROIX (O.S.)  
>  Nicholas, you disgust me...  
>  _(continues)_

Nick freezes, his eyes going up to the window (o.s.).

> LaCROIX (O.S.)  
>  _(continues)_  
>  —drinking that stuff!

Nick deliberately sips again before lowering his glass.

CUT TO:

350\. MED. ANGLE—NICK & HENDRICKS ON R.S., LaCROIX BEYOND THEM IN MIDDLE LEFT, IN FRONT OF OPEN FRENCH WINDOW

Nick lowers his glass, but still holds it, feigning ease.

> HENDRICKS  
>  _(chilly-polite)_  
>  I don't believe we've had the pleasure of  
>  being introduced.

> NICK  
>  Lucien LaCroix. An old...  
>  _(delicate pause)_  
>  ... acquaintance of mine. He has...  
>  _(mildly)_  
>  ...rather decided opinions.

LaCroix looks supercilious.

> HENDRICKS  
>  Ah.  Yes, I've met others like you.  Disapprove, do you?

CUT TO:

351\. INSERT—EXTREME CLOSE-UP OF HENDRICK'S HAND BEING PLACED ON TOP OF THE DECANTER

> NICK (O.S.)  
>  _(sweetly)_  
>  Would you—  
>  _(continues)_

CUT TO:

352\. CLOSE-UP OF NICK (LaCROIX'S P.O.V.)

> NICK  
>  _(continues, sweetly)_  
>  — like a glass, LaCroix?

CUT TO:

353\. CLOSE-UP OF LaCROIX (REVERSE PERSPECTIVE)

LaCroix stiffens and his lip curls.

CUT TO:

354\. MED. ANGLE (LaCROIX'S P.O.V.)

Looking in LaCroix's direction, Hendricks smiles slightly to himself and takes his hand off the decanter.

CUT TO:

355\. RETURN TO CLOSE-UP OF NICK (LaCROIX'S P.O.V.)

> NICK  
>  (irritated)  
>  You might at least try—  
>  _(continues)_

He puts his glass sharply down on the table.

CUT TO:

356\. INSERT—EXTREME CLOSE-UP OF GLASS

> NICK (O.S.)  
>  _(continues)_  
>  —it!

The glass TAPS sharply on the table as Nick puts it down.

CUT TO:

357\. RETURN TO CLOSE-UP OF NICK

He looks at LaCroix (o.s.), irritated.

CUT TO:

358\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(distaste)_  
>  Vampires are  hunters, Nicholas.

CUT TO:

359\. CLOSE-UP OF HENDRICKS—THREE-QUARTERS VIEW

Looking towards LaCroix (o.s.), Hendricks slaps his knee.

> HENDRICKS  
>  (with energy)  
>  That is precisely the attitude that's going to  
>  be the downfall of our kind.  
>  _(continues)_

CAMERA ADJUSTS TO TWO-SHOT as he turns to Nick.

> HENDRICKS  
>  _(continues)_  
>  Didn't I  tell you as much, Mr. Forrester?

Nick nods.

CUT TO:

360\. RETURN TO LaCROIX'S VIEW OF NICK & HENDRICKS

> HENDRICKS  
>  _(turning to LaCroix)_  
>  You are far from the  first I have heard talk this  
>  way, Mr. LaCroix.  But you would perhaps be  
>  surprised to learn the names of those among  
>  us who see my point.  
>  _(continues)_

CUT TO:

361\. RETURN TO CLOSE-UP OF LaCROIX

He looks supercilious.

> HENDRICKS (O.S.)  
>  _(continues)_  
>  Mortals today  worry about—  
>  _(continues)_

CUT TO:

362\. EXTREME CLOSE-UP OF HENDRICKS (LaCROIX'S P.O.V.)

> HENDRICKS  
>  _(continues)_  
>  —mysterious deaths and disappearances.  They  
>  are developing surprisingly sophisticated police  
>  detection methods.  And it's getting harder just  
>  to  move on—what with telegraphs and tele-  
>  phones ... and this incessant concern for identity  
>  documents.

CUT TO:

363\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(condescending)_  
>  Oh, I suppose your arguments have  some merit.  
>  _(continues)_

He flicks a finger in the direction of the decanter.

> LaCROIX  
>  _(continues)_  
>  That—  
>  _(continues)_

CUT TO:

364\. INSERT—EXTREME CLOSE-UP OF DECANTER

> LaCROIX (O.S.)  
>  _(continues)_  
>  —may  indeed prove—  
>  _(continues)_

CUT TO:

365\. RETURN TO CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues)_  
>  —to be a useful expedient.  
>  _(pauses)_

LaCroix's face hardens, and he continues with certainty ringing in his voice. CAMERA CLOSES ON HIS FACE.

> LaCROIX  
>  _(continues)_  
>  But it's not  natural for a vampire to drink—  
>  _(slight tone of outrage)_  
>  —chilled blood from a bottle!—  
>  _(with relish)_  
>  —instead of  hot and fresh—  
>  _(vehement)_  
>  — straight from the neck.

CUT TO:

366\. ONE FRAME OF WHITE

CUT TO:

367\. PRESENT—INT. NICK'S APARTMENT—EXTREME CLOSE-UP OF NICK

He's staring off into space.

> NICK  
>  Times have changed.

O.S. THE PHONE RINGS.

CUT TO:

368\. CLOSE ANGLE FROM BEHIND THE COUCH TOWARDS NICK & NATALIE

Nick gets up, and goes round the couch to answer the phone, still looking at Natalie.  She twists around to keep her eyes on him.

> NICK  
>  _(lightly)_  
>  The one constant in a vampire's life, change.

CAMERA ADJUSTS TO CLOSE-UP OF NICK as he picks up the phone.  He listens a moment, and then quickly puts his hand over the mouthpiece.

> NICK  
>  It's Ianetti!  
>  _(continues)_

CAMERA SHIFTS DOWN TO NATALIE.  She is twisted round, looking over the back of the couch to him.

> NICK (O.S.)  
>  _(continues)_  
>  There's been a break in the case!

Natalie looks eager to find out the new development.  ANGLE SHIFTS BACK UP TO NICK'S FACE.  He takes his hand off the mouthpiece to talk to Ianetti.

FADE OUT.

 

**END ACT FOUR**

 

* * *

 

 

**ACT FIVE**

 

FADE IN:

369\. EXT. POLICE STATION—NIGHT (STOCK)

CUT TO:

370\. INT. POLICE STATION—CLOSE ANGLE BY ENTRANCE—FROM BEHIND THE GATE LEADING INTO THE SQUAD ROOM, ACROSS THE FRONT DESK INTO THE FRONT CORRIDOR

In f.g. is the desk sergeant.  Tracy comes along the corridor.  She is wearing a pants-suit.  She starts through the swing gate into the squad room (in extreme f.g.).  However, the desk sergeant shifts slightly into her path, suggesting by body language that she should stop.  She does, looking at him inquiringly.

> DESK SERGEANT  
>  _(confidentially)_  
>  Didja hear?—there's been a break in that  
>  hijacking case.

She steps closer. CAMERA ADJUSTS TO CLOSE TWO-SHOT.

> TRACY  
>  _(prompting more)_  
>  O—oh?

> DESK SERGEANT  
>  _(confidentially)_  
>  Yeah, the 41st Precinct got a tip-off about  
>  a warehouse.  There's a meet set up, I think.

The desk sergeant straightens up, finished his gossip.  Tracy nods, apparently satisfied with this amount of information.  CAMERA PULLS BACK AS SHE STARTS ON INTO THE ROOM.  IT HALTS AS SHE TURNS BACK.

> TRACY  
>  _(afterthought)_  
>  Oh! Is my  partner in yet?

> DESK SERGEANT  
>  _(offhand shake of head)_  
>  Haven't seen him.

Tracy gives him a slight nod of acknowledgment, turns, and goes o.s. into the squad room.

CUT TO:

371\. INT. BRIEFING AREA—MED. ANGLE

Reese is standing at the head of the table, talking to Ianetti and several other people.  Most of them are in plainclothes; and not all are from the Metro Police.

> REESE  
>  Right then, has everybody got that?

Heads nod.

> IANETTI  
>  You're sure of the time?

> REESE  
>  It's laid on for 10:45.  That's not to say  
>  someone won't screw up—  
>  _(mock-grim)_  
>  —but it better not be anyone from  this  
>  precinct, that's all I can say.

Ianetti—and several others from Reese's precinct—grin, realizing it's a warning, but also a joke.

CUT TO:

372\. CLOSE-UP OF TRACY—ANGLE TOWARDS THE COLUMN MARKING THE SIDE CORRIDOR

Tracy is standing behind her chair, taking off her suit jacket, which she puts over the back of the chair.  CAMERA SWINGS ROUND TO LONG SHOT UP TO THE END OF THE SQUAD ROOM.  The briefing in the conference area is over, and the people are dispersing.  The clock shows 8:55.  Captain Reese heads across the centre of the room to his office.  As he gets near Tracy's desk, CAMERA PULLS BACK BEHIND TRACY (IN F.G.) FOR TWO-SHOT.  She turns to him.

> TRACY  
>  Hey, Cap—  
>  _(gestures up room)_  
>  —what's going on?

> REESE  
>  _(laconic)_  
>  Briefing on the hijacking.  
>  _(pause)_  
>  Knight not in yet?

> TRACY  
>  Uh ... not yet, no.

As it's still early, Reese just nods.  HE GOES PAST TRACY (IN EXTREME F.G.) AND O.S. (HEADING FOR HIS OFFICE).  CAMERA HOLDS ON TRACY.  She looks thoughtful.  CAMERA THEN SHIFTS BEYOND HER.  Ianetti is coming up the room over the other side of the central corridor, heading for his desk.  CAMERA HOLDS ON IANETTI.  He comes up, but doesn't sit down.  Instead he stands, staring down at his desk.

CUT TO:

373\. INSEET—EXTREME CLOSE-UP OF IANETTI

His face goes blank and expressionless.

CUT TO:

374\. RETURN TO SHOT

Ianetti turns on his heel, and heads straight up the room towards the rear exit.  CAMERA HOLDS ON HIM FOR A FEW STEPS, AND THEN HE GOES O.S.

CUT TO:

375\. EXTREME CLOSE-UP OF TRACY

Eying Ianetti (o.s.).

CUT TO:

376\. ANGLE UP TO THE END OF THE SQUAD ROOM—FROM BEHIND TRACY (IN F.G.)

Tracy looks after Ianetti as he goes up to the rear exit, opens the door, and leaves.  He is going to meet Nick, obeying his posthypnotic suggestion.

CUT TO:

377\. EXT. REAR OF POLICE STATION—CLOSE ANGLE—NIGHT

The back door opens, and Ianetti comes out.  He hesitates, and then slowly walks down the stairs.  At the bottom he stops.

CUT TO:

378\. EXTREME CLOSE-UP OF IANETTI

Ianetti is looking slightly puzzled.

> NICK (O.S.)  
>  _(softly)_  
>  Ianetti.

Ianetti turns his head slowly to the right.  CAMERA SHIFTS OVER TO EXTREME CLOSE-UP OF NICK.  He is standing slightly behind Ianetti, but quite close to him.

> IANETTI  
>  _(a bit blank)_  
>  Knight?

He turns round to face Nick.

CUT TO:

379\. EXTREME CLOSE-UP OF NICK'S EYES

He stares at Ianetti, re-hypnotizing him.  THE HYPNOTIC HEARTBEAT BEGINS.

CUT TO:

380\. EXTREME CLOSE-UP OF IANETTI—NICK'S P.O.V.

Ianetti looks puzzled.  HEARTBEAT GETS LOUDER.

CUT TO:

381\. RETURN TO EXTREME CLOSE-UP OF NICK'S EYES

Green vampire eyes.  HEARTBEAT GETS LOUDER.

CUT TO:

382\. RETURN TO EXTREME CLOSE-UP OF IANETTI

Ianetti is hynotized.

> NICK (O.S.)  
>  _(hypnotic effect)_  
>  You told me on the phone about the raid.  
>  _(continues)_

CUT TO:

383\. EXTREME CLOSE-UP OF NICK'S LIPS

> NICK  
>  _(continues, intently)_  
>  Has  Reese set the time?

CUT TO:

384\. RETURN TO EXTREME CLOSE-UP OF IANETTI

> IANETTI  
>  _(toneless)_  
>  Yeah. Yeah, it's on—  
>  _(breaks off)_

CUT TO:

385\. EXT. PARKING LOT—EXTREME CLOSE-UP OF NICK SITTING INSIDE HIS PARKED CAR—NIGHT

He is talking on the car phone to LaCroix.

> NICK  
>  _(completing Ianetti's words)_  
>  —for a quarter to eleven.

CUT TO:

386\. INT. LaCROIX'S STUDY—CLOSE-UP OF LaCROIX

LaCroix is standing beside his desk, talking on the phone to Nick.

> LaCROIX  
>  That will be tight.

CUT TO:

387\. INT. CUNNINGHAM'S HALLWAY—MED. ANGLE TOWARDS THE FRONT DOOR

Cunningham is on the phone.  Rocca stands nearby, listening.

> CUNNINGHAM  
>  You're sure of the time, LaCroix?  
>  _(pauses to listen)_

CUT TO:

388\. TWO-SHOT OF CUNNINGHAM & ROCCA

> CUNNINGHAM  
>  _(continues)_  
>  Right.  I'll get started.

He hangs up the phone.

> ROCCA  
>  You've made the arrangements?

CAMERA HOLDS FOR A MOMENT (although there is no answer to her question).

CUT TO:

389\. EXT. PARKING LOT AT WAREHOUSE—ANGLE DOWN FROM THE ROOF—NIGHT

A truck pulls up.  (THE REAR OF THE TRUCK IS NEAREST THE CAMERA.)

CUT TO:

390\. INT. POLICE STATION—CLOSE-UP OF TRACY—OVER HER DESK FROM THE CENTRAL CORRIDOR

Tracy's suit jacket is still over the back of her chair.  CAMERA CLOSES IN as she picks up a pen, pretends to write something, grimaces—a little too obviously—and puts the pen down.

> TRACY  
>  _(under her breath)_  
>  Damn pens.

CAMERA HOLDS ON HER as she gets up and goes across the room to Ianetti's desk.

CUT TO:

391\. CLOSE-UP OF TRACY—AT IANETTI'S DESK

There is a file on the desk pertaining to the case.  Ianetti also has a container of some sort (perhaps a mug) which is filled with pens and pencils.  Trying not to look around surreptitiously, Tracy eases the file open with her right hand and sneaks a look.  Her left hand reaches out blindly to the pens.

CUT TO:

392\. INSERT—ANGLE DOWN ONTO THE OPEN FILE

Tracy's hand turns the page.

CUT TO:

393\. INSERT—EXTREME CLOSE-UP OF TRACY—ANGLE UP (FROM THE FILE)

She peers a little closer.

CUT TO:

394\. INSERT—ANGLE DOWN ONTO THE OPEN FILE

She runs her finger down the page.

CUT TO:

395\. RETURN TO SHOT

Meanwhile, she is ostensibly hunting through the container for a pen.

CUT TO:

396\. INSERT—EXTREME CLOSE-UP OF TRACY (ANGLE UP FROM FILE)

A little smile of satisfaction:  she's found the address of the warehouse.

CUT TO:

397\. INSERT—EXTREME CLOSE-UP OF CONTAINER OF PENS

She picks one out.

CUT TO:

398\. RETURN TO SHOT

With one hand Tracy picks up a pen.  With the other she closes the file.  She goes o.s. (heading back to her desk).  [NOTE: she does not know the time of the operation, which Ianetti only learned in the briefing.]

CUT TO:

399\. CLOSE-UP OVER TRACY'S DESK

TRACY'S BODY COMES ON SCREEN.  (HER HEAD IS O.S. UNTIL SHE SITS DOWN).  She grabs her chair, and sits down.  The pen she has 'borrowed' is plonked on the desk with one hand as she reaches for the phone with the other.  She punches in the number, and waits impatiently as the phone RINGS.  Then it is picked up.

> VOICE ON PHONE  
>  Raven.

> TRACY  
>  _(fairly low)_  
>  Is Vachon there?

> VOICE ON PHONE  
>  Who?

> TRACY  
>  You must know him—he's always there.  Dark  
>  hair, kinda long?  Leather jacket?  
>  _(slightly embarrassed)_  
>  Really good-looking.

> VOICE ON PHONE  
>  Oh, him.  He's not here.  Left a while back.

The other phone is hung up with a CLICK.  Looking annoyed, Tracy puts down her phone.  CAMERA ADJUSTS UP as she rises with quick decision, and grabs her jacket.  Shrugging into it, she heads for the front of the room.  In b.g., A WOMAN IN A SARI (who has just come upstairs) stops at the front desk to talk to the desk sergeant.

CUT TO:

400\. CLOSE ANGLE ALONG THE BACK OF THE FRONT DESK

CAMERA MOVES PAST THE END OF THE DESK AND CIRCLES ROUND BEHIND THE WOMAN.  Tracy is coming up the room.

> WOMAN  
>  _(distressed)_  
>  My husband never came home last night.  He  
>  was working late—I thought maybe he'd slept  
>  over—  
>  _(interrupted)_

Tracy tries to catch the sergeant's attention.  As he realizes this, he raises his hand to halt the woman, and twists round to talk to Tracy.

> DESK SERGEANT  
>  Yes, Detective?

> TRACY  
>  If my partner asks, tell him I've just gone for a bit.

> DESK SERGEANT  
>  Sure thing.

Tracy turns and heads for the rear of the room.  The desk sergeant turns back to the woman.

> DESK SERGEANT  
>  Ma'am, you want to talk to Missing Persons.

CUT TO:

401\. EXT. REAR OF POLICE BUILDING—CLOSE ANGLE—NIGHT

Tracy comes out and heads down the stairs.

CUT TO:

402\. AERIAL VIEW OF TORONTO (STOCK)

CUT TO:

403\. EXT. POLICE PARKING LOT—CLOSE ANGLE ON TRACY'S CAR

She backs out of the parking lot and drives o.s.

CUT TO:

404\. AERIAL VIEW OF TORONTO (STOCK)

CUT TO:

405\. EXT. DOWNTOWN STREET—NIGHT

Tracy's car drives along the street.

CUT TO:

406\. AERIAL VIEW OF TORONTO (STOCK)

CUT TO:

407\. EXT. PARKING LOT OF WAREHOUSE—ANGLE DOWN FROM THE ROOF—NIGHT

There are now people around the truck:  vampires are carrying cases of blood out of the warehouse, and Cunningham—inside the truck—is swapping them for cases of wine.  CAMERA CLOSES IN ON REAR OF TRUCK.

CUT TO:

408\. FLIGHT EFFECT—BLURRED WINDOWS—DOWN TO THE RIGHT

CUT TO:

409\. PARKING LOT OF WAREHOUSE—CLOSE ANGLE AT THE SIDE OF THE TRUCK—FROM THE FRONT OF THE TRUCK (FX)

Nick lands beside the truck, and walks away down towards the back of the truck.

CUT TO:

410\. CLOSE ANGLE INSIDE TRUCK

Cunningham picks up a box that is inside the truck.  CAMERA PULLS BACK.  He hands it out to Mieka, who is waiting at the tailgate of the truck.  Mieka goes o.s.; after a moment we hear the FLIGHT SOUND EFFECT.  Urs was waiting behind Mieka, carrying a box of blood.  Nick comes up as she hands it up to Cunningham, who puts it on the floor of the truck.  Cunningham gives her a box of wine, which she takes away (with a glance at Nick).

CUT TO:

411\. CLOSE-UP OF URS

BLURS as she jumps up into the air.  FLIGHT SOUND EFFECT.

CUT TO:

412\. CLOSE-UP OF NICK

> NICK  
>  What's going on?

ANGLE ADJUSTS TO INCLUDE CUNNINGHAM. He bends over to talk to Nick.

> CUNNINGHAM  
>  _(puzzled)_  
>  We can't just have the cases vanish, Knight.

He turns, and reappears with a box of wine bottles.

> CUNNINGHAM  
>  Here.  
>  _(continues)_

Nick takes it from him.  He glances down at the box, and then looks back up at Cunningham, still puzzled.

> CUNNINGHAM  
>  _(continues)_  
>  When the police arrive, they'll see exactly what  
>  they  expect to see—red wine.  
>  _(continues)_

Nick looks at the box.

CUT TO:

413\. INSERT—CLOSE-UP OF BOX IN NICK'S ARMS.

With one hand, he rips open the tape on the top of the box.

> CUNNINGHAM (O.S.)  
>  _(continues jokingly)_  
>  I do bottle the stuff, after all.  
>  _(continues)_

Nick lifts the flap of cardboard up and looks inside. The box is full of bottles.

> CUNNINGHAM (O.S.)  
>  _(continues)_  
>  It's just a week or so late on delivery.

CUT TO:

414\. RETURN TO SHOT

Nick pushes the flap back, and looks up at Cunningham.

> CUNNINGHAM  
>  (quiet direction)  
>  Take it inside, Knight.  Everyone's here.

Nick looks at him for a moment, and then turns and goes o.s.  Cunningham looks after him.  FLIGHT SOUND EFFECT.  A FEMALE VAMPIRE COMES UP, and hands a box to Cunningham.

CUT TO:

415\. INT. WAREHOUSE—FULL SHOT

The warehouse is a large bare room with a large skylight.  There is a stack of crates of `wine'.  Busy removing them are several vampires, including LaCroix, Vachon, Urs, Mieka, Rocca, Soo-Ling—though there should be unfamiliar faces in the background.  The vampires are flying out through the skylight, and going to the truck out back.  ANGLE SHIFTS UP TO THE OPEN SKYLIGHT.  A vampire is disappearing up through the skylight to the roof.

CUT TO:

416\. CLOSE ANGLE

Nick puts down the box of wine bottles.  Behind him, LaCroix spots him and turns round.

> LaCROIX  
>  Ah, Nicholas.  I see you made it.

> NICK  
>  _(dry)_  
>  You couldn't  keep me away.

He walks over to LaCroix, who picks up a case of bottled blood and hands it to him.

CUT TO:

417\. CLOSE-UP OF NICK

PICTURE BLURS AS HE JUMPS UP.

CUT TO:

418\. FLIGHT EFFECT—BLURRED WALLS—STRAIGHT UP

CUT TO:

419\. EXT. ROOFTOP—CLOSE ANGLE ON SKYLIGHT

Nick comes up through the skylight and rises in the air.

CUT TO:

420\. INSIDE WAREHOUSE—CLOSE-UP OF LaCROIX

He is looking up at the skylight, holding another box.

CUT TO:

421\. CLOSE-UP OF LaCROIX'S FEET

He jumps up.

CUT TO:

422\. EXT. WAREHOUSE—FRONT OF BUILDING

There is no sign of the vampires.  Tracy's car pulls up in the driveway.  She gets out.

CUT TO:

423\. INT. WAREHOUSE—CLOSE-UP OF MAIN DOOR

Tracy opens it and slips inside.

CUT TO:

424\. FULL SHOT TOWARDS DOOR

In f.g., the vampires continue work as Tracy enters in b.g.  Nick, Urs, and LaCroix are all absent; Vachon is at the rear of the building; Mieka and Rocca (who are standing close together) are nearest Tracy.  [NOTE: the reason for the absences is so that Tracy will not realize Nick, Urs, and LaCroix are vampires.  Nor, when LaCroix later discovers that Nick's partner is a Resistor, will he remember this incident and realize that she must know about vampires, and that Vachon faked hypnotizing her.]

CUT TO:

425\. INSERT—CLOSE-UP OF TRACY

She takes her gun out silently, and then suddenly points it towards the vampires (o.s.).

> TRACY  
>  Police!  
>  (continues)

CUT TO:

426\. EXTREME CLOSE-UP OF TRACY—GUN POINTING AT THE CAMERA

> TRACY  
>  (continues)  
>  Hold it right there!

CUT TO:

427\. RETURN TO SHOT

In f.g., the vampires turn round to look at Tracy (b.g.).

CUT TO:

428\. LONG SHOT FROM THE DOOR (TRACY'S PERSPECTIVE)

The vampires turn to her.

CUT TO:

429\. INSERT—CLOSE TWO-SHOT OF ROCCA & MIEKA

They snarl, revealing their fangs.

CUT TO:

430\. INSERT—EXTREME CLOSE-UP OF TRACY

Her eyes open in surprise and horrified realization.

CUT TO:

431\. QUICK INSERT—EXTREME CLOSE-UP OF SOO-LING'S VAMPIRE EYES

CUT TO:

432\. INSERT—RETURN TO CLOSE TWO-SHOT OF ROCCA & MIEKA

CUT TO:

433\. RETURN TO LONG SHOT TOWARDS THE VAMPIRES

CUT TO:

434\. RETURN TO CLOSE-UP OF TRACY

HER GUN IS POINTED TOWARDS THE CAMERA.  Her hand—and her lips—tremble a little, but she holds the gun on them.

CUT TO:

435\. THE ROOF OF THE WAREHOUSE—CLOSE ANGLE

Nick lands on the roof near the skylight.  He kneels (HIS BACK TO THE CAMERA) and looks down through the skylight.

CUT TO:

436\. CLOSE-UP OF NICK—THREE-QUARTERS VIEW

He kneels, looking down through the skylight.  THE LIGHTING COMES UP FROM THE WAREHOUSE.

CUT TO:

437\. ANGLE DOWN THRU SKYLIGHT

ANGLE DOWN on the scene in the warehouse.  Tracy is in the doorway, holding the gun; the vampires are stationary, staring menacingly in her direction.

CUT TO:

438\. RETURN TO CLOSE-UP OF NICK

He looks up, frightened for Tracy.

CUT TO:

439\. RETURN TO ANGLE DOWN THRU SKYLIGHT

Rocca and Mieka slowly start towards Tracy.

CUT TO:

440\. RETURN TO CLOSE-UP OF NICK

He hesitates, then starts to get up, looking uncertain.

> VACHON (O.S.)  
>  _(sharp, peremptory)_  
>  No!

Nick freezes.

CUT TO:

441\. PARKING LOT—ANGLE DOWN FROM THE ROOF

Cunningham is handing a box down to LaCroix.  Urs stands on l.s. with a box.  All look towards the warehouse.

CUT TO:

442\. EXTREME CLOSE-UP OF LaCROIX—SIDE VIEW FROM BEHIND

He looks to the left, with an uncertain frown.

CUT TO:

443\. CLOSE ANGLE ON THE REAR OF THE TRUCK

Cunningham and LaCroix share a glance of speculation.

 CUT TO:

 

444\. INSIDE WAREHOUSE—EXTREME CLOSE-UP OF VACHON

Face hard.

> VACHON  
>  _(clear, but quieter)_  
>  Leave it to me.  I'll take care of her.

CUT TO:

445\. MED. ANGLE ON VAMPIRES

The other vampires hesitate; some look towards Vachon.

CUT TO:

446\. FLIGHT EFFECT—BLURRED HORIZONTAL SHOT ALONG THE WALL

CUT TO:

447\. TWO-SHOT OF VACHON & TRACY—VAMPIRES' P.O.V.

Standing on her right, Vachon grabs Tracy's shoulder with his left hand, and reaches out with his right to take the gun from her hand.  It is so fast that she is only just starting to get surprised when he swings her around—so that the vampires see him rather than her (lest her expression give her away).

CUT TO:

448\. MED. ANGLE TOWARDS DOOR—OTHER VAMPIRES' P.O.V.

CUT TO:

449\. EXTREME CLOSE-UP OF VACHON'S FACE

His tone suggests (wrongly) that he is using hypnotism.

> VACHON  
>  Listen to me.  
>  _(continues)_

CUT TO:

450\. EXTREME CLOSE-UP OF TRACY

Still scared.

CUT TO:

451\. INSERT—EXTREME CLOSE-UP OF VACHON'S EYES

> VACHON  
>  _(continues)_  
>  You have seen  nothing in here.  
>  _(continues)_

CUT TO:

452\. RETURN TO EXTREME CLOSE-UP OF TRACY

Starting to get puzzled:  from his attitude and tone, she realizes that he is (apparently) trying to hypnotize her—yet they both know that this cannot be achieved.

> VACHON (O.S.)  
>  _(continues)_  
>  You will go back outside....  
>  _(continues)_

CUT TO:

453\. INSERT—EXTREME CLOSE-UP OF VACHON'S HAND

He lets go her shoulder and gives it a tiny pat.

> VACHON (O.S.)  
>  _(continues)_  
>  ...get in your car...  
>  _(continues)_

CUT TO:

454\. RETURN TO EXTREME CLOSE-UP OF TRACY

Realizing in relief that this is a performance for the other vampires, Tracy gives a tiny nod of understanding

> VACHON (O.S.)  
>  _(continues)_  
>  ...and drive away.  You haven't seen—  
>  _(continues)_

CUT TO:

455\. INSERT—EXTREME CLOSE-UP OF VACHON

> VACHON  
>  _(continues)_  
>  — anyone in this building.  Do you understand?

CUT TO:

456\. RETURN TO EXTREME CLOSE-UP OF TRACY

> TRACY  
>  _(in monotone)_  
>  No one here.

CUT TO:

457\. TWO-SHOT—ANGLE TOWARDS DOOR

> VACHON  
>  Now go.

CAMERA ADJUSTS AS SHE GOES PAST HIM & OUT THE DOOR. He looks blandly towards the other vampires.

CUT TO:

458\. TWO-SHOT OF MIEKA & ROCCA

They relax from their snarls.

CUT TO:

459\. RETURN TO ANGLE TOWARDS DOOR (OTHER VAMPIRES' PERSPECTIVE)

Vachon still stands in the door, waiting.  Everyone hears THE SOUND OF TRACY'S CAR as she drives off.

CUT TO:

460\. RETURN TO MED. ANGLE ON VAMPIRES

They relax and turn—

CUT TO:

461\. THRU THE SKYLIGHT, DOWN INTO THE WAREHOUSE

—going back to the boxes.

CUT TO:

462\. CLOSE-UP OF NICK ON THE ROOF

Relieved.

CUT TO:

463\. EXT. STREET—NIGHT

Tracy drives her car along a street.

CUT TO:

464\. INSIDE CAR—CLOSE-UP OF TRACY—FROM PASSENGER SEAT

She's trembling with reaction.

CUT TO:

465\. EXT. STREET—ANGLE ALONG THE CURB—SIDEWALK ON EXTREME RIGHT—NIGHT

Tracy's car comes along the street (from b.g.). She pulls up and parks by the curb in f.g.  (CLOSE ANGLE TOWARDS THE WINDSHIELD & DRIVER'S SIDE WINDOW.)  CAMERA CLOSES IN FOR CLOSE-UP OF TRACY.  For a moment she is very still.  Then she rests her arms on the wheel.  CAMERA CLOSES IN TO EXTREME CLOSE-UP OF TRACY THROUGH THE SIDE WINDOW.  She takes several deep breaths, trying to control her shock at her near-escape.

FADE OUT.

 

**END ACT FIVE**

 

* * *

 

 

**EPILOGUE**

 

FADE IN:

466\. EXT. STREET—CLOSE-UP OF MAILBOX—NIGHT

Nick's gloved left hand pulls it open.  His right hand (also gloved) puts in a smallish (but chunky) brown envelope, addressed to Captain Reese in letters and words cut out of the newspaper.  It contains the wallet that Vachon gave him.  CAMERA HOLDS ON MAILBOX.  NICK'S FOOTSTEPS GO AWAY.

CUT TO:

467\. INT. REESE'S OFFICE—CLOSE-UP OF THE TOP OF THE DESK—DAY

The arm of a uniformed police officer drops a bundle of mail on the desk with a SMACK.  Uppermost is the envelope with the wallet.  Reese's hand picks it up.  CAMERA ADJUSTS UP TO CLOSE-UP OF REESE.  He picks up a letter-opener and starts to slit open the envelope.

CUT TO:

468\. EXT. POLICE STATION—LONG SHOT OF ENTRANCE, WITH PEOPLE COMING AND GOING—NIGHT (STOCK)

CUT TO:

469\. INT. REESE'S OFFICE—CLOSE ANGLE ON REESE

Reese is sitting behind his desk.  Lying on his desk are the wallet, envelope, and sheet of paper (which have been put in transparent plastic bags).  Also there's a piece of paper with a list of names on it.  O.S. Nick and Tracy are standing in the doorway.

> REESE  
>  Something came in; thought you'd better see it.  
>  _(continues)_

Reese picks up the plastic bags.  TRACY COMES ON SCREEN IN F.G., walking up to the front of the desk (on l.s.).

> REESE  
>  _(continues)_  
>  Here.  
>  _(holds the bags out)_

Tracy takes the bags.  ANGLE SHIFTS ROUND TO TRACY.  She looks at the contents of the bags curiously, and then starts reading the letter through the plastic.  ANGLE SHIFTS BACK TO REESE.

> REESE  
>  It's been to the lab.  No fingerprints; paper you  
>  can get anywhere.

CUT TO:

470\. CLOSE ANGLE ON NICK

Nick moves forward to just inside the doorway.

> NICK  
>  What is it?

CAMERA PULLS BACK TO TWO-SHOT WITH TRACY (RIGHT F.G.).

> TRACY  
>  A tip-off.  
>  _(continues)_

She looks up from reading the letter.

> TRACY  
>  _(continues, incredulously)_  
>  From a  pickpocket!  Says he stole it ... from a  
>  guy in the subway who was talking with his  
>  buddies about beating someone up in High  
>  Park.

CUT TO:

471\. CLOSE-UP OF REESE

> REESE  
>  It's hardly evidence we can take to court ... but  
>  it's certainly a lead.

CUT TO:

472\. RETURN TO TWO-SHOT OF NICK & TRACY

> NICK  
>  _(laconic)_  
>  We have an address?

> TRACY  
>  Driver's licence in the wallet.

She swivels round to talk to Reese.

> TRACY  
>  _(briskly)_  
>  Right, Cap.  We'll pick this guy up and—

> REESE (O.S.)  
>  _(interrupting)_  
>  No.  
>  _(continues)_

Tracy is taken aback.

CUT TO:

473\. RETURN TO CLOSE-UP OF REESE

> REESE  
>  _(continues)_  
>  Day shift says his  parents say he's disappeared.  
>  _(continues)_

> TRACY (O.S.)  
>  _(interpolation)_  
>  _(disappointed)_  
>  Oh.

> REESE  
>  _(continues)_  
>  But they came up with a list of his friends.  
>  _(continues)_

He picks the list up off his desk.

CUT TO:

474\. RETURN TO TWO-SHOT OF NICK & TRACY

Nick walks up to the desk, standing just by Tracy.

> REESE (O.S.)  
>  _(continues)_  
>  Who knows—you may have the whole gang of  
>  gay-bashers—  
>  _(continues)_

CUT TO:

475\. RETURN TO CLOSE-UP OF REESE

Reese holds out the list.

> REESE  
>  _(continues)_  
>  — right here—  
>  _(continues)_

CUT TO:

476\. RETURN TO TWO-SHOT OF NICK & TRACY

Nick reaches out to take the piece of paper.

> REESE (O.S.)  
>  _(continues)_  
>  —on this—  
>  _(continues)_

CUT TO:

477\. EXTREME CLOSE-UP OF THE PAPER, AS NICK HANDS IT TO TRACY

> REESE (O.S.)  
>  _(continues)_  
>  —sheet of paper.

CUT TO:

478\. RETURN TO TWO-SHOT OF NICK & TRACY

Tracy looks at the sheet eagerly.  ANGLE SHIFTS TO CLOSE-UP OF NICK.  He is looking at Tracy.

FADE OUT.

 

**THE END**

* * *

 

* * *

 

**Author's Note:**

> High Park is a real park in the western part of Toronto. The gay-bashing plot in Episodes One and Two is loosely based on [the murder of Kenneth Zeller](https://en.wikipedia.org/wiki/Murder_of_Kenneth_Zeller), that took place there in 1985.  It was not at all unlike the case here, except that the real murder happened in the car park. 
> 
> By writing order, this was the ninth episode of FK4 completed—at that time, in a one-episode version. This was finished in April 1997. Expansion to two episodes began in late summer 1997. The first half, ["Dawn of a New Knight"](http://archiveofourown.org/works/6219832), was completed in August 1998. The second half was expanded and renamed "Sang Ordinaire".
> 
> The public debut of the episode was on 27 September 2004, when the announcement of its webpage was made on FORKNI-L.


End file.
